Ryan Christopher (00:18):
Hey, welcome to Recent reads. I’m going to tell you about some good books tonight. We’re going to go around the room. I’m going to tell you about everyone. Everyone give us 10 seconds or so. Let us know a little bit about you. We’ll start with Ed.

Ed Kearsley (00:37):
I’m Ed Kiley and I make comic books such as Radical and Final Dragon and Sea Angels from Earth.

Ryan Christopher (00:45):
Awesome. Nathan Judd. Let us know.

Nathan Judd (00:49):
I’m Nathan. I write and draw comics Slowly in there. It’s fun.

Ryan Christopher (00:56):
Awesome. Justin McNamara,

Justin (01:00):
I’m Justin. I’m trying to write and draw comics, but I’m more procrastinating and watching DVDs.

Ryan Christopher (01:09):
And last but not least, Shannon Browning.

Shannon Browning (01:12):
Yeah, I’m Shannon Browning and I’m in the top left corner.

Ryan Christopher (01:17):
It’s where we like. So Batman Day during the week and Batman gets a star on the Hollywood Walk of Fame, so I have to ask everyone before we get started, what is your favourite Batman story? Who wants to go first?

Nathan Judd (01:37):
You’re going to have to point someone out.

Justin (01:39):
Oh, I’ll go first. I’ll go first. Mine’s easy. Who is he? Batman, 1966, the two part episode. Batman and the, sorry, Catwoman and the Perfect Crime where she was stealing two idols that were in the shape of ancient Egyptian cats and when they were put together, they made a map or some stuff. But the reason that one resonates with me so much is that as a kid, I loved my View Master. I dunno if you guys know View Master where you put the little things in. I had that on View Master, so I know that story backwards and forwards, and I recently got the big box set of all three seasons of Batman from 1966 and didn’t start from the beginning, went straight to those two episodes and watched those and then started from the beginning. So that’s easy for me. That’s my favourite Batman story. Julie Newmar.

Ryan Christopher (02:36):
I always loved that movie. The 1966 movie. That’s one I watched to death as a kid. That was great. Anyone?

Shannon Browning (02:49):
Yeah. I have to say my favourite Batman story would still be Batman 89, the Michael Keaton movie. That is literally the moment that started my 30 year love affair with superheroes and comic book characters and comic books and stuff like that. And even though you watch it nowadays and the dialogue’s a little hokey and yeah, there’s plot holes, you can drive a battleship through, who cares? The movie’s awesome. And Michael Keaton’s still the greatest Batman on cinema. I don’t care what anybody says,

Ryan Christopher (03:21):
And it’s given us so much of everything that we’ve had up to the movies that are still being released in the cinemas now, none of it.

Shannon Browning (03:27):
Oh, exactly.

Ryan Christopher (03:29):
So what a huge gamble they took to bring it to the screen. It was, yeah. Pretty remarkable for 1989.

Shannon Browning (03:38):
Oh hell yeah,

Ed Kearsley (03:41):
Ed, I’m not really great at figuring out, which is my all time favourites, but ones that I’ve read a lot and really liked was the Batman Venom with Where Batman gets addicted to steroids turns into the venom that Bain uses later on. I think that was from the late eighties and Tim Sale. And who’s Jeff Loeb? The Long Halloween and Dark Victory and stuff. Those are really great quality.

Ryan Christopher (04:20):
That’s a great one. And the new part of the story just came out this week, I think in comic shops like the last Halloween, the last, yeah. Yeah, which is pretty cool having the original story that they worked on together, sort of coming together again. It’s very cool. Nathan?

Nathan Judd (04:42):
Yeah, that was going to be mine. So the low Halloween, I wasn’t a fan of the art usually I only read art, but I thought the story was really cool because it was more grounded. It was really a detective story with the crime kind of families coming into it, I think. And then, yeah, and it was a little bit of who done it. Yeah, it was just interesting because you like, oh, I dunno where this is going to go. Yeah, I think that’s what got me a bit more interesting wasn’t really about the action side of that.

Ryan Christopher (05:19):
That’s what made it good though, because it was kind of like, I think they forget that sometimes so many stories nowadays, they don’t investigate the detective

Nathan Judd (05:29):
Aspect of that. He’s a detective. Yeah, because everyone’s like, well, but yeah, it’s kind of like a noir story. Maybe that’s why I liked, it’s not maybe drawn a full noir, but yeah, thinking back, that’s probably kind of what

Justin (05:44):
I have to say, that I love that somewhere, somewhere is screaming at YouTube right now that none of us have said Killing Joke or Dark Night Returns. So to that person, sorry, Lowell,

Ryan Christopher (05:59):
And I’m going to continue to disappoint you because mine is the court of the Owls series storyline by Greg and Scott Snyder. That was my, I picked that one up from issue, one of the relaunch, and it was just mind blowing pretty much every issue all the way through. There were a couple of villains in there that I didn’t get overly enamoured by, but at the end of the 50 odd issues that they did. But for the most part, it started out so solid. It had some great bits throughout, but that Quarter of the Owl storyline to me was one of the all time great Batman runs.

Nathan Judd (06:41):
Schneider is too smart for me. I kind of get lost. I read it and I’m like, what? And then thought, yeah, it was good because I had Olo on that run, right

Nathan Judd (06:54):
Cap

Nathan Judd (06:55):
Run. So I read it and just going like, yeah, this art is premium. This is good. Oh, there’s an owl came out of nowhere. Okay. Oh look, he’s an maze. He’s lost now. I’m like, cool. That’s cool though. Sweet. Yeah, I got lost it. It was good. But yeah, Schneider, I don’t know. I think I didn’t read it all properly at one time. So that’s when it gets there.

Ryan Christopher (07:22):
Now that we’ve paid tribute to Batman, make sure that you give us a subscribe because we would love to have your regular viewership.

Nathan Judd (07:37):
I feel like Batman would just buy YouTube and just that’s what you do. It’d be,

Shannon Browning (07:43):
I just like the fact that comics is acting just like Warner Brothers is using Batman to get everybody into the cinema.

Nathan Judd (07:50):
Wow. Unbelievable.

Ryan Christopher (07:53):
You’ve got to take the marketing advantages while they’re there. All right, so let’s get into tonight’s recent reads. I’m happy to start this one off, give everyone a little bit extra time. So this week I decided to go for a classic and I read Silver Surfer Judgement Day written by Stan Lee and oops,

(08:26)
And I kind of really loved it. This is 1988, so this is pretty much long after Stan Lee has stopped actively writing comics on a regular basis at all. And then John Emer has this idea that he wants to do a Silver Surfer book. He wants to do full page art, which had never been done in a Marvel comic before. So it is not broken down into panels. Every page is as if it’s a panel throughout the story. And he wanted Stan to write the story for the book. So you get this nice little silver surfer side quest story where surfer is sort of alone in space. Again, sort of lamenting his existence. He does musing on the universe thinking about the friendship he had with gala’s new Herald Nova, and then he sort of runs afoul of some sirens and a portal that’s trying to lure him to another dimension.

(09:36)
He manages to sort of get away from that situation, and he comes across Nova who’s trying to find a planet for Galactus to consume, and they sort of talk about how they haven’t been around each other for a long time and so many things have changed and no one’s who they were anymore, and that she doesn’t have to do what Galactus wants her to do, even though she’s actually a herald by choice. And they sort of part ways, again, she goes off in sort of the direction he came from. She gets lured in by the sirens herself and then falls prey to Mephisto the demon, and he decides that he’s going to try and use her to get at Galactus, because Galactus is such as a Demigogue. He’s sort of overly powerful, but Beto thinks that he’s more powerful than Galactus, so he’s sort of wants to try and get back at Galactus and the Silver Surfer. So he sort of uses Nova and sets the trap to try and put his plan into place, and I’ll give you an idea of how amazing these full page pin up ops are.

Justin (11:11):
Very nice. Em at his best.

Ryan Christopher (11:15):
Absolutely. This is off the back of what he was doing with Conan and sort of really establishing that sword and sorcery genre at Marvel comics. That’s sort of getting back into popularity right now, but this is absolutely classic John Deemer, a combination of so many decades of iconic work that he did even on silver surfing himself, and it’s sort of beautifully watercolored as well, so it’s got, yeah, it’s not the sort of colouring that you normally see in a comic book even of that time period. So it’s kind of unique and it’s the first, I believe, the comic by the Marvel or DC to have basically only splash page artwork for the entire issue. The artwork was done in its entirety first, and then, sorry, mosquito. And then Stan came in and wrote the story and the dialogue and the expiratory text and all that sort of stuff over at the top of it. And it’s probably one of the last 1988. It’s probably one of the last instances of that real old school Marvel method being put into action in a story. So I love it because unique in so many ways, the story is sort of Shakespearean.

(13:04)
You’ve got the Godly figure, you’ve got the demon, you’ve got the fallen sun, you’ve got the replacement. That sort of plays on a lot of those archetypes that have existed in biblical stories and stories from sword and sorcery background and all that sort of stuff. So yeah, I think it’s definitely something that’s worth picking up, not just if you are a John Beemer fan, but also if you want to just see something that maybe you haven’t seen from Stan Lee. A lot of people have read Fantastic Four and Hulk and all those early iconic Stan Lee stories, but maybe a lot of people haven’t realised that he’s put out some of these short form graphic novels and stuff like that long after he stopped actively writing comics of any kind. Yeah, so you have to pick it up. I think it’s a contained within an epic collection called Silver Surfer Judgement Day, which I believe you can still get from some comic bookstore, but you can also pick up, this is a first print graphic novel with a great Joe Juco painted cover. And I didn’t pay too much for this secondhand, I think I paid 20, $25 or something like that, which it’s cheaper than a lot of new graphic novels that you buy if you can track down a copy. But yeah, I recommend picking it up because sort of unique time in history, I guess for Marvel Comics. It’s a big goodbye from two iconic artists or creators.

(14:52)
Anyone want to go next or do we have any comments? Sorry, go

Ed Kearsley (15:00):
On. I’ll just click ’em up. See, we can see

Ryan Christopher (15:07):
Carry It’s Builders like this is Goodbye episode and Siz is hidden deep in the background. Hello everyone.

Justin (15:36):
Yes. Oh,

Ryan Christopher (15:40):
That was so good. It’s like a YouTube video, isn’t it? Something like that short film on YouTube.

Shannon Browning (15:44):
Oh no, you’re thinking, yeah, that short film from years ago. No, there was a comic, they did a crossover with Predator years ago. They had, I can’t think of his name,

Ed Kearsley (15:57):
The brother,

Shannon Browning (15:58):
Any Cubit did the art for it. And the Art is incredible. And that was back in 19 92, 19 93 I think around Hall

Ed Kearsley (16:08):
Got the rights to Creditor. Yeah,

Ryan Christopher (16:10):
That’s cool. Didn’t know that one.

Ed Kearsley (16:12):
There was both the qubits as well that they did the Pencilling and Inking. The Cubit.

Nathan Judd (16:18):
All the cubits are pretty good. The

Justin (16:21):
Children Cubits

Nathan Judd (16:22):
Not the So good long Halloween last week. Good job.

Ryan Christopher (16:30):
It’s long Halloween season.

Nathan Judd (16:32):
Yeah, I read it years ago, so I’m like,

Ryan Christopher (16:36):
That’s fine. That’s perfectly fine.

Shannon Browning (16:38):
That’s great. It’s a shame they never made the sequel to that. But anyway,

Nathan Judd (16:42):
They did an animated movie. I think there’s a two part maybe. I think they changed the ending of the, I don’t think I watched it, but I watched the first part. There

Shannon Browning (16:55):
You go. Told you

Nathan Judd (16:58):
Everyone loves

Shannon Browning (16:59):
Returns and Killing Joke Too Easy. Go outside the Step outside the comfort zone a little bit.

Nathan Judd (17:05):
It’s still in the top 10 Batman stories. Just everyone else put it. There

Ryan Christopher (17:08):
Was an animated movie, I think Batman Cracula, maybe.

Shannon Browning (17:12):
Yeah, it was from the Batman series, the one that came after the animated series. Still a good Batman series. It really was. It was just judged a little harshly because it wasn’t Batman, the animated series,

Justin (17:25):
That period there was Batman with everything. I seem to remember there was Batman versus Judge Dread.

Shannon Browning (17:32):
I have that,

Justin (17:33):
I think Superman versus Aliens as well and all sorts of stuff. I’m throwing everything at the wall in those days.

Nathan Judd (17:39):
I tried to read the Batman Spawn like that event, and I was like, I don’t think I can do this. I tried it separate. Let’s just get ’em separate

Shannon Browning (17:52):
Because they’ve done it three times. They did it within the last two years. They did another one, but the ones they did back in the nineties, DC did a version and Todd McFarlane did a version, and Todd actually got Frank Miller in to write his version. So he cheated a little bit, but the DC version, it’s honestly, they only looked at the cover of one issue of Spawn and then based their character on that. It was not good. It was an interesting take on the story and stuff, but it was not good. But both the art and the story and the McFarling version was far, far superior.

Ed Kearsley (18:34):
I liked the d dc one because I like us Janssen, but

Nathan Judd (18:39):
I think he got Olo for the new one. Again, I was like, that’s why I was reading it. I was like, yeah, I’ll give, I’ll read it. I was like,

Shannon Browning (18:47):
Good. That was the one, God, I’m getting into the trivia here. That was around the time that he’d released, I think it was issue 18. There was a great big hiatus for a while, and then he released Issue 21, and then about a year later he went back and released issues 19 and 20 out of order. But during that hiatus period is when the Batman’s Spawn issues came out. So everybody just assumed that the Batman Spawn was issues 18 and 19, even to the point that at the end of the Batman Spawn, the McFarlane one spawn wound up with a batang in his face, and in issue 21, the first thing you see is someone sewing up his face. And that’s how he wound up with those stitches in his face for a very long time.

Ryan Christopher (19:44):
I love that. I love unofficial law. I love when enough people can get together and agree on something and that just becomes,

Nathan Judd (19:53):
You have to start making it. You disagree with something like, no, I’ll just, I won’t do that. What they call it when they retrofit it and they change it and it’s like, I’ll just pretend I didn’t hear that. I’ll just stick with my version, my version of the wall.

Ryan Christopher (20:11):
Alrighty. Who wants to go next? Who’s been reading something cool?

Nathan Judd (20:14):
Yeah, who’s been reading it?

Shannon Browning (20:17):
I will. Okay. As I’ve mentioned a few times, I moved about two years ago into the house I’m hopefully staying in, and my parents finally gave me back all of my stuff that’s been stored at their house for years. So I’ve been going through the boxes and finding stuff, and one of the things I was thrilled to finally dig out were these very nice, these were a series of books that, yeah, Paul Dini and Alex Ross combined on. So you’ve got this one, which is Superman, peace on Earth, you’ve got, and I got ’em all, Batman, war on Crime, wonder Woman, spirit of Truth, and finally Shazam, power of Hope.

Nathan Judd (21:14):
Cool. Who’s doing interior song?

Shannon Browning (21:17):
Alex Ross did full art on all of the books.

Nathan Judd (21:22):
How’s that possible? How’s that possible?

Shannon Browning (21:25):
Because he’s a lunatic and he never leaves the house.

Nathan Judd (21:29):
How long did he take this? 20 years? Look at, that’s

Shannon Browning (21:32):
Crazy. I dunno how long it took him all to do all these things, but this

Nathan Judd (21:36):
Is 10 years worth of work.

Shannon Browning (21:38):
No, it was only, this was over a couple of years

Nathan Judd (21:42):
That

Shannon Browning (21:43):
I could actually look in and see when it was published and shit like that. But yeah, if I remember rightly, it did not take all that long to come out. Yeah. Alex is for such a detailed artist, actually he works pretty quickly,

Shannon Browning (21:59):
If I

Shannon Browning (22:00):
Remember rightly, when he was doing Kingdom Come, I think it was two months in between issues, which is pretty phenomenal. But yeah, anyway, the one I’m talking about tonight is Superman, peace on Earth. The story is essentially a big thing about Superman. One of the questions people ask about him is, if he’s so super, why doesn’t he fix all the world’s problems? So the theme of this is on one day he tries to make sure that everyone on Earth eats. He makes sure that everyone on earth has a meal on this one day. And he, long story short, he fails and he fails not because of what he was doing, he fails because the things he can’t combat are human nature and greed and politics and infighting and so on and so forth. So yeah, he feels like he failed at the end of the day, but it’s a beautifully written story as well as being a beautifully drawn and illustrated story. See if I can pick up another cool image. I’ll bring that up there.

Nathan Judd (23:21):
Oh, look at that. I can’t remember.

Shannon Browning (23:26):
These are old. These came out, let’s see, when was this published? I 1999. So yeah, these books are 25, give or take years old.

Ryan Christopher (23:39):
Yeah,

Nathan Judd (23:39):
I think

Ryan Christopher (23:41):
I feel like it’s important with a book, especially with a Superman type book too, it’s such a prescient time, pre Y 2K, pre nine 11, the sensibilities of this Superman and what you’re getting is not the same as what Superman’s presented as now that hope that hopefulness was so resonant in those books, even when things weren’t going to plan,

Shannon Browning (24:13):
And we were a lot more hopeful as a people. Yeah, I know everybody seemed to think that things were kind of bleak in the nineties, but there was this feeling that if we just band together, we can still sort of fix things. I think people’s attitudes now are a lot bleecker and darker and there’s not a lot of future hope anymore. I think that’s why nostalgia is such a big thing at the moment. We’re constantly going back and dipping into memories and what we remember made us happy rather than moving forward and creating new things, but without getting too heavy.

Justin (24:57):
Hang on, that was without getting too heavy, Holly.

Shannon Browning (25:05):
No, no, no. We don’t want the theme of Tonight Show being stories that can have you jump off a bridge. But anyway, that’s

Justin (25:11):
The name of the comic on reviewing, so that’s a shame.

Shannon Browning (25:17):
But yeah, I was thrilled when I found these, when I was going through one of my many, many boxes of stuff. Unfortunately, they’re a little bit damaged that you can see up here. It’s a little water damaged and stuff this slow.

Justin (25:36):
Yeah, they’re not damaged. That’s love. Well,

Shannon Browning (25:40):
The book doesn’t open as well as it used to, but we’ve still got stuff like this in the books.

Nathan Judd (25:50):
I’ve seen these, some of the art for this, but I never knew it was from a book. I assume they were covers

Shannon Browning (25:57):
Or

Nathan Judd (25:57):
Something.

Shannon Browning (26:00):
But yeah, all four of those books. And the reason Superman did books on those four characters is because I remember reading in an article ages ago, he thinks they’re the archetypes of every single type of superhero you can have. So with Superman, it’s science and science fiction. With Batman, it’s urban and crime stories with Wonder Woman, it’s fantasy and mythological. And what was Shazam? I can’t remember what Shazam was.

Nathan Judd (26:32):
I was going to say fantasy and mythological because

Shannon Browning (26:34):
I think he was fantasy and I think Wonder Woman was Myth and the other one, he spoke briefly about possibly doing one about Plastic Man as well. He said that’s the only other one that’s different and that’s comedy.

Nathan Judd (26:51):
Yeah, okay.

Shannon Browning (26:52):
But yeah, I don’t know if any of these are still available anywhere. I mean, the fact that you guys haven’t even heard of them is incredible, but if you can track them down, they’re worth it just for the art. But at the same time, the story written in Paul Deany who was famous for writing on Batman, the animated series and whatever your favourite episode of Batman the animated series was, it’s a very good chance that he wrote it. He’s the one who recreated Mr. Freeze and came up with the tragic story about his wife and the reason why he does what he does up to that point, it was just a goofy guy who did cold shit.

Nathan Judd (27:43):
Oh no. That phrase we’re going to put you all on ice. Wrong phrase. Sorry guys. Wrong phrase.

Shannon Browning (27:56):
Oh shit. But anyway, yeah, but these are fantastic books. They’re beautiful. They’re absolutely amazing. If you ever track copy down, buy it straight away. They’re probably on eBay somewhere. I wouldn’t pay their eBay prices, but

Justin (28:15):
As soon as I saw them, Shannon, I’m sitting here on my iPad with eBay open looking for them, so yeah, yeah, they’re on eBay and yeah, they’ve got some prices on ’em too.

Shannon Browning (28:24):
Yeah. What are they going for? I’m curious.

Justin (28:28):
There was a 2 77 for the Superman one.

Shannon Browning (28:31):
It’s 277 bucks.

Nathan Judd (28:35):
Yeah, you’re jumping on eBay after this, man.

Shannon Browning (28:38):
I’m thinking about it. Jesus,

Justin (28:40):
Three 50, if it’s water damaged, three 50, it’s

Nathan Judd (28:46):
Well loved by water.

Shannon Browning (28:48):
Good God. I was just talking about the nostalgia, but I’m sitting there about a grand screw,

Nathan Judd (28:53):
Nostalgia, let’s go. Money’s the new nostalgia, baby. Screw nostalgia.

Ryan Christopher (28:59):
I think the thing is that I don’t think anyone’s really picked up an Alex Ross book and regretted it. So

Nathan Judd (29:07):
Is a lot of, because I thought, I reckon come and I was blown away. I was like, this is insane. And I was reading it like 20 years later because I had no idea and I was like, this is amazing. But then some much online stuff is so stiff and so everyone’s like a statue and pictures, and I was like, that’s why. Good. That’s cool. But yeah, there’s so much of that where people still think everyone’s super stoic. Everyone’s in their best form at that possible time. I’m like, yeah, but that’s the best thing ever.

Shannon Browning (29:43):
Recently did a re-release of a series he did called Uncle Sam, which I got the originals of Packed Away somewhere where I loved, and it was basically a critique of America using not the comic book version Uncle Sam, but the myth of Uncle Sam as a character. So more, and that’s also a great read. So you probably won’t be able to get the original stuff, but that re-release is available at the moment and probably still for a decent price. So I would suggest picking that up as well. I’m a big Alex Ross fan. I don’t think I’d ever want to sit down and have a conversation with the guy. He’s a bit of an arrogant prick, but his art is phenomenal. I very much believe in separating the art from the artist. So hundred, I’ve enjoyed man’s art.

Ryan Christopher (30:38):
These views are not necessarily the views of Comic Studio and Comic Studio

Shannon Browning (30:45):
Day all the time when I nearly got into a full on punch up with one of the visiting artists from Image. But that, that’s the story from another time.

Ryan Christopher (30:56):
That’s definitely going to require a deep dive when we have,

Nathan Judd (30:59):
Let’s going to narrow it down to about 20 to 25 people. Can we get a year? Can we just get a year?

Shannon Browning (31:07):
Oh God, it’s probably about late nineties sometime.

Nathan Judd (31:12):
Oh wow. Down.

Shannon Browning (31:14):
It was one of their younger artists and he was a real up and comer, but

Nathan Judd (31:18):
David Finch,

Shannon Browning (31:19):
Oh my god, he was a dick.

Nathan Judd (31:20):
Definitely David Finch. He took him out. Boys Dan Fragger, boom. Ragger, the one he wrote forgets about.

Ryan Christopher (31:32):
Does anyone want to volunteer to go next?

Justin (31:34):
Yeah, yeah.

Ryan Christopher (31:35):
Justin,

Justin (31:37):
We’re going to jump into it because it’s my favourite time of the year. It’s October, so that means that it’s a month away from my birthday and also it’s almost Halloween. So I love my horror. I’ve been a horror movie reviewer for about 25 years for a couple of different websites. And out of my love of horror movies are, I also love soundtracks. Now there’s an amazing company in the US called Waxwork who do stunning soundtracks of horror movies and stuff like that. I think they’re just releasing the soundtrack to Beetlejuice Beetlejuice on vinyl. But one of the things that they also do that not many people know, what they do is they also have a comic series.

(32:22)
Now, being a horror guy, I love stuff like Tales from the Crypt and Vampirella and Erie and Creep and all that sort of stuff, and this is their version of that sort of thing. So House of Wax work is hosted by the director, and this one has two stories in it. One’s called Occult Slumber Party, and the other one is the Lighthouse Occult Slumber Party is about a board game. It’s kind of like a horror version of Jumanji where they play the game and they’re sucked into a haunted house where there’s a whole pile of traditional universal monsters that are after ’em. And the lighthouse is your standard. It starts off as your standard sort of a guy getting away from the world and he needs to go and work somewhere where he is away from mankind. And so he goes and gets a job at a lighthouse so he can be by himself only to find that the lighthouse was haunted. And then there’s a twist, and then there’s a twist, and then there’s a twist. There’s a lot of twists in the story. It’s decent sort of indie art, two different artists per issue.

(33:38)
That’s cool. But the stories are okay, the last page is sort of a take, that sort of thing, all of those sorts of things. But the cool thing about House of Wax work is that because Waxwork, the record company brings it out, it comes with a soundtrack. So this is, I think it’s a 33 RRP M single. It has the House of Waxwork theme, it’s got the Occult Zumba party soundtrack and the Lighthouse keeper soundtrack. So good old fashioned old school. And because it’s wax work, they love to release it on silly coloured vinyl. So yeah, I think they’ve only done two or three issues.

(34:27)
They’re pretty cool, unfortunately. I mean, because they come with a single, they’re 1495 Americans, so that translates to 40 bucks Australian, and then it’s going to cost you 20 bucks in shipping. So they are a hefty investment, but they’re such an unusual curio that I think that they’re worthwhile getting. I dunno if they’ll ever be worth money. So if you’re a speculator, I dunno if this is the thing you’d go for, but just the fact that it’s a comic with a soundtrack, I think that that makes it for something a little bit unique. When I was looking for something to review for tonight, I was like, what sort of halloweeny stuff can I do? And this sort of nailed it. I’d been listening to been doing housework and listening to soundtracks and it was like, okay, then House of Wax works where we’re going. So that is my pick. It’s a lot of money, but it’s definitely worth it.

Ryan Christopher (35:20):
That’s really cool. I haven’t seen a book released with the soundtrack before. I was aware of Wax Works. I’ve got a few of their records in my personal collection. But yeah, I actually hadn’t been keeping up with them to know that I’d heard inklings about them getting into comics, but I didn’t know they’d actually launched anything yet. So that’s actually pretty cool.

Justin (35:44):
So they’ve got their T-shirts and stuff like that, and their soundtracks are still going off and they still do their yearly subscription. It’s about $400 Australian, but you get a copy of every record that comes out for the year and a bonus one as well. And they only do, I think a thousand subscriptions a year, but their stuff’s quality. I don’t even know who did the soundtrack. So the Lighthouse Keepers performed by Creeper Compose and performed by Creeper, and somebody called Douglas Pipes did the other one. But yeah, it’s an interesting way to read a comic to actually have a soundtrack to go with it. But yeah, the tracks aren’t very long and honestly, they’re probably about the length of time that it takes to read an anthology story length. But yeah, it’s a bit of fun and it comes with a digital download of the soundtrack too, if you want to whack it on whatever service you’ve got. So yeah. Very cool. That’s my read for the week.

Ryan Christopher (36:45):
Nice. Awesome. Do we have any comments?

Ed Kearsley (36:50):
Sure.

Ryan Christopher (36:52):
Let me find Batman first. SC Scoo I know made a bunch of new stuff, but I remember the old, old Batman Scoo

Shannon Browning (37:17):
When they did all the celebrity cameos and the sc

Ryan Christopher (37:29):
Howdy everyone.

Shannon Browning (37:33):
Hey Peter,

Ryan Christopher (37:36):
This is my first time doing the show, so I’m trying to settle into a groove and I’m forgetting the comments exist. So we have a backlog

Shannon Browning (37:47):
Still. Captain Planet, sorry.

Ryan Christopher (37:52):
Great fact about Captain Planet. The character design was done by Neil Adams.

Shannon Browning (37:57):
Oh wow. That makes sense.

Ryan Christopher (38:00):
It’s why they’re so awesome. I’m also very keen,

Shannon Browning (38:06):
I’m still looking forward to that. Docker.

Ryan Christopher (38:08):
Yeah, I live regional though, so we don’t always get those released in the cinema, so I’m like,

Shannon Browning (38:15):
No, I think that’s a streaming only. I think that’s going to be Mike. God, what do you have to get? Oh, binge maybe. I think binge is Warner Brothers stuff by the physical media. It’s better.

Shannon Browning (38:33):
I agree.

Shannon Browning (38:39):
I do remember downloading the script for the original nightmare on Elm Street film, and I put on the soundtrack of the movie while I was reading the script and it just made for such a cooler experience.

Justin (38:56):
It is funny. I always put on music whenever I’m doing boring stuff around the house, and sometimes I’ll just pick something I haven’t listened to for a while and it’s like, that’s probably not housework music.

Shannon Browning (39:09):
I think the best music to cook to is Prince personal opinion.

Nathan Judd (39:16):
I feel like it’s like cooking pudding. That’s the pudding music. It’s like, oh, I’m going to have some nice smooth tasting pudding here. It’s the pg, the PG pudding music. The PG pudding.

Shannon Browning (39:35):
I do remember at the peak of Covid where I was working, I had to constantly go and get tested every week and you’d just be sitting in line in your car waiting, waiting to get the test done. And I was having a good day. I had the music turned up, I was just sitting there waiting and stuff. And then I realised that I’m sitting in line for the pandemic test listening to the song. This is my dying song.

Nathan Judd (40:03):
I’m glad you clarified that. It was for a covid test. It wasn’t just any other test. It was for Covid.

Shannon Browning (40:10):
It was Covid test. It was Covid test.

Nathan Judd (40:12):
Yeah, I was worried about the tangent there. That’s right. It’s good. Had some pudding the next day I got a test.

Ryan Christopher (40:27):
I think. Nathan, you’ve been great. You’re in the zone. This

Nathan Judd (40:32):
Is my last time guys. Thank you.

Ryan Christopher (40:36):
It was nice having you on, mate. We’re going to miss you as a result of that. You’ve volunteered to go next.

Nathan Judd (40:42):
Oh, okay. Yeah. Okay. That’s surprise. So this time, I don’t know if anyone’s ever done it before, but I’m doing Beta Ray Bill specifically Arjun Star, which is the Daniel Ray, Daniel Warren Johnson version. So I’m a pretty new fan to him. I kind of came across him like a year or two ago, and at first I was like, I wasn’t sure about his artwork. And I kept looking at it. I’m like, I was like, oh, it’s a bit weird. And then the more I looked, this guy is crazy because mixes, he’s got really good perspective. The perspective stuff kind of grabs me. But then he works all traditional, all kind of really brushy lines, but he just has a really good grasp on scale and stuff. I mean for, not the best example in the book, but it’s just big random splashes like that. And it’s almost like there’s a lot of sit pieces that I find really interesting.

(41:55)
And I kind went into this book, I didn’t know a lot about Beta Ray Bill because it was just never a character. I realised everyone knows about Thor. I knew he was four related, so I went into this book, book was just kind of no idea. And I think sometimes that’s the best way to read a book. You don’t have a preconception of law or what’s his background. And I think so I think it was a benefit for me because I think this has its own continuity a bit. It is very much his own story. It’s got some other characters in there.

(42:32)
I personally tend to prefer a character driven story rather than a team book. Even though I read some Team Bush where there’s five characters and you’re swapping in between, I do enjoy just being able to focus on one story and follow that person along and their journey. But pretty much the setup for this is he’s in a really bad spot. He has to defend, hits us a big battle and he doesn’t have as main whipping anymore. So he’s in a weakened state. He’s still powerful, but he doesn’t have I not pronouncing that right, but there’s another, his axe, which I can’t remember right now. Yeah. And this continuity, it’s gone. It broke in a previous comic and this is kind coming after it. And so he’s kind of powered and that they do a big battle and it goes badly and then Thor shows up and kind of saves the day. And it’s kind of putting him, he’s kind of tired of living in Thor’s shadow. He is like, every time I do something you rock up. And he’s like, yeah, well we needed help. It’s like, yeah, but all the time. And so I think he’s kind of on the back foot, so you kind of feel for him a bit.

(43:54)
And this is some cool, if there’s people who know Daniel want to Johnson, he’s got crazy. Yeah, crazy art. I love his use of blacks and just really brushy, really energetic lines. He just puts the energy kind of before everything else. If something’s not technically right, it’s like, he’s like, no, it’s about what it makes you feel. And I think it’s good to see that sometimes you get, especially as an artist, you get caught up. This needs to be perfect and this needs to be right. And he has stuff. I wouldn’t say it’s perfect, but it looks awesome. And he’s like, yeah, that looks cool. That’s why it’s there. Is it the perfect arm length? No. Does it look cool? Yeah, that’s his mindset. And I was like, I kind of got behind that because I was watching a couple interviews and I was like, yeah, that’s cool. But yeah, it’s just a journey. It is five issues I think. And it is kind of like, it’s almost like a fantasy journey, but it is quite long and you’re following history. There’s a lot of little subplots which won’t really get into, they don’t want to give away too much. I bought it solely based on the art and I really enjoyed the story and that doesn’t always happen.

(45:22)
And it was just an interesting one because he doesn’t have his helmet on. So I think a lot of people that I’ve shown, they’re like, why does he look? So get a good picture of him. Yeah. Okay. That’s another slash that I think I saw this and I was like, okay, I have to get this book. That’s amazing.

(45:42)
So his just understanding of how to draw stuff really, really well and just crazy perspective pages, but somehow keep the energy into it. If you imagine trying to draw that. And there’s a lot of stuff you have to go not to draw Connor and you get kind of caught up in all the detail work, but just yeah, he’s really good at pulling focus on the right things. And a lot of it is because he’s kind of not the best looking dude. A lot of people are used to seeing with his helmet and they don’t like him with his helmet. And that’s a thing in the story as well. He’s kind of struggling with everything, his identity. People kind of think I’m ugly and I’m not that powerful anymore. And that sets up his journey.

(46:34)
He’s trying to find ODing at this stage in the law. Odin’s disappeared. I don’t know where he is and he wants to get the weapon back. So he is powerful. So that’s the kind of the journey, that’s what sets him off on the journey. He is like, screw you, Thor. I’m going on my giant spaceship that I happen to have going to get my sword and that’ll be powerful and good looking again. And it’s kind of at the end he kind learns what’s more important. That’s the kind of crux of the story. You see the other coaches come in and he learns. Yeah, it’s probably not how I look. That’s important. And this is simplifying it a little bit. There’s tonnes of references to the original Peter Pan movie with Ruo and stuff in the background. Have you guys seen the original Peter Pan, Mr.

(47:34)
Hook and stuff? Robin Williams. So there’s little on the spaceship, there’s little screens and he’s drawn in basically little scenes that are really simplified and you hear them saying little wines from the movie. And as you go through some of the pages, you see it just in the background like little Easter eggs. I don’t know what the meaning of that is. I think it’s subtext. So it was the whole story, but it’s pretty cool. I like it. Why it does. I think he, I mean you guys have probably know him. I’ve just started on this Transformers, so he’s done this. I was going to ask. Yeah, huge Transformers run. I don’t know anything about transformers, so I don’t even know who the transform. I’ve seen some of the bay movies sort of thing.

Justin (48:26):
Yeah, robots in disguise just to help me

Nathan Judd (48:28):
Out. Yeah, I picked up on that. Yeah, there’s more

Shannon Browning (48:31):
Than Meet the Eye.

Nathan Judd (48:32):
Definitely more than Meet the Eye, but this is awesome. I kind of wanted to see how the heck is he going to draw robots? How do you draw such perspective heavy things without it becoming kind of steer rail and give life to them? And yeah, he figured it out. That guy,

Ryan Christopher (48:52):
He’s too good. One of the books that started to make him a really big deal was a book that he did at Image called Extremity. And that book is so phenomenally detailed. The world building in every single panel is insane. And there’s not that many other people who are still churning out the volume of work that he seems to be able to be doing that are putting as much detail and style into their work as he seems to be able to do. It’s Tread Moore where there’s a few, and the White Knight universe that Sean Gordon Murphy.

Nathan Judd (49:44):
Yeah, he’s just crazy.

Ryan Christopher (49:46):
I feel like Daniel Warren Johnson’s in that group where his overall vision when he puts something together, is so uniquely fitted that he gets that benefit of the doubt to put stories together and do things pretty much whatever he wants to do. He’s got a tremendous amount of trust and creative control, I think with the projects that he ends up working on for any of the studios so far.

Nathan Judd (50:20):
Yeah, I’ve watched a couple interviews and I’ve kind of watched him work and he can definitely work fast. I think it depends what he’s drawing, but if he knows what he’s kind going to draw, I think he can knock it out pretty quick because he is all traditional and he has, watching him work is kind of frantic. You just watch it and you’re like, I don’t know how that’s going to work. And then it’s almost like painting, but he’s kind of painting with ink, so he is kind of thinking two steps ahead a little bit. If you look at it halfway through, you’re like, whoa, this could go real bad. And then he just goes like, here’s the magic dust and bam. Yeah. But I think it’s the energy now where I think there’s a lot of, there’s such a digital influence and I’m not going to be like digital is bad, but this stuff is so clean looking now, especially with the main big mainstream comics and it’s trying to find something that has that kind of grit to it, bit of energy and all my stuff that’s purposeful mistakes that he’s just leaving there is kind of cool.

(51:29)
I kind of like that.

(51:32)
He’s not about perfection. I mean he is on certain things, but there’s a lot of stuff not perfect, but that’s why if you took that away, it’ll take away from the piece. So yeah, I’ve been really enjoying it. But he is really good at conveying emotion with the characters too. He’s not just doing action stories. Everything has an emotion tied to it with the character. It’s not really just explosions and stuff. There is a bit of a journey there and it’s not really based around heroic stories, it’s more that’s the hook. It’s a big character stuff, but it’s more of based on family or something or discovering who you are, what should be more important to you than maybe what you’re thinking. And I think that resonates with me and obviously a lot of other people because I’ve picked up on it. So that’s my review. Thanks guys.

Ryan Christopher (52:35):
Ed, do we have any more comments?

Shannon Browning (52:38):
That Transformers series was something I spoke about. I think one of my first episodes on the recent res. Have you read it? Have you read it? Yeah. The second, I’m a Transformers fan from back in 1984. I love the characters and that book and that series of stories is blowing me away. I mean, it’s so good, it’s so well drawn, it’s so well written. It’s genuinely giving me PTSD. You’re actually coming away from certain issues with a little bit of heartache because it’s not just smashing toys together anymore. This is a war story. These are characters that have been in a war for centuries. It’s affected them and this is actually coming through and yeah, it’s phenomenal. So I mean, if he did the art on that better age build one, I’m going to try and track that down.

Nathan Judd (53:32):
But that’s the thing with them. I’ll read a lot of books and don’t all the time, you don’t give that emotional, you look at it, you don’t kind maybe grab that emotion and he’s really good at doing that. Whereas other stuff, you’re just like, yeah, other person’s sad is sad, but I feel with his stuff you feel it a little bit more. Like you’re like, oh, that transformer where there’s not really a spoiler, but he often, this prime stands on the deer and he just murders this deer by accident because he doesn’t know Earth yet. I think that’s the point. He’s like, what? What’s that? And he just murdered this deer. He stood on it and it’s like, oh man, that’s so man. And you kind of feel really bad because he just doesn’t understand and you kind of, he’s learning how earth works

Shannon Browning (54:20):
And optimist prime in that story. He’s broken. He is so broken and it comes across in his body language. He’s slumped, his head is hanging a lot of the time. You can see how much weight he has on his shoulders as he moves when he is not in battle and stuff. And it’s incredible. It really is. I mean, I can’t get across how good I think that story is and the artwork is adding to the story brilliantly. But yeah, it it’s amazing. It’s, once again, transformers are toys. Okay. That’s all they’ve ever really been. Yes, people have done some good stories with them, but they are toys in that book. They are characters, they are warriors and they are broken.

Ryan Christopher (55:10):
Well now it’s a multiple Eisner award winning book as well.

Nathan Judd (55:16):
But yeah, he’s got a new book out, which I’m going to start reading. He’s mostly writing it. The moon is following us as well, so I’m kind of going to jump in on that. But no, he is one of the few artists where he actually has emotional weight in his stories for a robot. And you’re like, why do I care about this robot? I don’t even know this robot woman did. Really? The humans, are they new characters? They’re not preexisting characters.

Shannon Browning (55:46):
Some of them were new. I think they brought back the wikis. So Spike and his son, I can’t remember what his son’s name is. Excuse me, sorry. Apologies.

Shannon Browning (55:58):
That’s,

Shannon Browning (56:00):
But yeah, some of the other human, the little girl in it, she’s a new character that’s been added to this, but

Nathan Judd (56:12):
It’s the first, the way I understood it, it’s the first time they’ve come to Earth. That’s how they’re doing it. They haven’t been on earth before.

Shannon Browning (56:21):
Yeah, they went back, I remember when it first came out, they went back to the beginning pretty much at the beginning of where the cartoon started from back in 84. And so I’ve seen that and just thought, oh God, they’re retelling this again. No, they just used that as the stepping on point. Like, alright, they had their war in Cybertron. The auto bots escaped cybertron in the arc. The arc crashed to Earth back in the dinosaur ages. It’s been stuck in this mountain all this time. A volcano wakes ’em up as it does. And the story starts from there. But where it was just sort of cute and toy ads and that sort of thing back in the eighties and everybody’s shooting guns and nobody ever hits anything. This one star scream wakes up and the first thing he does is executes Bumblebee. And that’s happens in the first issue, which lets you know that, alright, bumblebee, I didn’t care characters. And they just

Ryan Christopher (57:22):
Hate to interrupt our wonderful Transformers love fest that we’ve got going on right now. But we do have to get the Ed’s review. So Ed, oh, for us this week,

Shannon Browning (57:37):
Ed just holds up his book and goes, it’s good. That’s it.

Ed Kearsley (57:41):
And it’d be looking at Mega Rage Roboto by Neil Blandon and great thing straightaway on the cover. It’s like featuring robot, robot, robot featuring none of these robots. And so this is a comic book by Neil Blandin, even though he pretends it’s by Jack Cribby and Stan Lee. And another thing that’s really great about it is it’s got this cool two page poster and he’s put it at the front because normally if you were boring you would put it in the middle so you could just take the staples up and take it out. But because Neil’s kind of an innovator, he’s put it at the front, so you have to take the whole comic book apart to get the poster out, which is great. And so this is a full comic book story because normally his other stuff like Bland is shorter stories, one panel cartoons and comics. And so this is the story of these two kids. We see the boys calling the girl or clips of poo stuff. So she challenges him to a giant robot fight. And then you’ve got the parody ads, indifferent. Dan’s trying to steal the kids’ Twinkies and then it goes into the robot battle.

(59:33)
And then these parody ads, they’re so called the how he’s letter that it actually looks like an old school kind of ad from back in the day. And I especially love the seed monkeys who sell GR on the back and the stupid prizes. And there’s a great one with the calculator robot. This is cool. Should have got it at the time. Too late now it’s 150 bucks on eBay. It’s all classic Neil Bland and humour. And then there’s a big robot fight. There’s a cool bit where the plane’s coming in about to land, nothing’s gone wrong. And then the robot grabs it out of the sky and then hits the other robot with it.

(01:00:32)
And then there’s the fight ends, he kicks him out over the skyline and there’s a big explosion and then there’s the general comes out of nowhere and laments the letting kids settle arguments with giant robots and destroying the city. And then there’s another grape hundred piece dead toy soldier set that you could buy. So if you’ve read any comics from the, I’d say the late seventies, this kind of reminds me of it really has that cool feel. And then you get that crazy blandon where it always reminds me of underground stuff from the sixties, like the San Francisco era and if I can find it, it’ll be in this one. If you see how crazy. I love just how mental the Neil’s artwork is, but there’s quickly find it. Yeah,

Justin (01:01:52):
It reminds me of bla. Do you remember bla?

Ed Kearsley (01:01:56):
No, I don’t think I’ve heard.

Justin (01:01:57):
It looks like some of the artwork from bla, it’s great,

Ed Kearsley (01:02:00):
But he’s doing a crumb riff with the crumbs shading and stuff. It’s about pencils going to heaven.

Justin (01:02:14):
Got that Mr. Natural sort of looking characters there. That’s good.

Ed Kearsley (01:02:16):
Yeah,

(01:02:18)
And also we were talking a lot about, what’s his name, the Scott McLeod, the Understanding comics that Landon’s doing the comics is it is probably the best one out of all the different types of those types of the how to do comic stuff. And I especially enjoy that this is equipment, they’re all essential. Please do not argue. It’s like most of this book, he’s telling off the reader to not argue with him and he knows what he’s talking about and you don’t. So listen to me. It’s all great stuff. And yeah, if you get to go to a convention or wherever in Melbourne, when Neil’s there go buy his comics and bring cash, he does not accept cards.

Ryan Christopher (01:03:14):
See that’s the advice that we need to be giving people.

Justin (01:03:20):
Is his stuff available through the comic store as well?

Ed Kearsley (01:03:23):
Yeah, I’m pretty sure that these ones are on there. The Blands, these are really

Justin (01:03:27):
Good. Okay.

Ed Kearsley (01:03:30):
He is a great artist and he’s very funny and very cynical too. I love the cynicism of how much being a cartoonist will destroy your life if you commit yourself to it. I feel very,

Ryan Christopher (01:03:50):
No, I’ve made a mistake. Oh,

Shannon Browning (01:03:54):
Wish I could argue with

Ed Kearsley (01:03:55):
Him.

Justin (01:03:57):
That’s it. I’m going to go and get a job in an office. He’d be

Ed Kearsley (01:04:01):
Better off.

Justin (01:04:03):
I don’t think so.

Ryan Christopher (01:04:04):
Well Justin contemplates life in Ed. We’ll go to the comments.

Ed Kearsley (01:04:14):
Alrighty, I’ll just scroll through them again. But this one about Dylan’s new nightmare.

Shannon Browning (01:04:27):
Yeah, it’s a fan film. I just found that on YouTube. I’m going to check it out when I can.

Ed Kearsley (01:04:31):
Oh cool. Thanks to Eric. Thanks Eric.

Shannon Browning (01:04:36):
Thanks Eric.

Ed Kearsley (01:04:39):
Captain Planet.

Ryan Christopher (01:04:40):
Yeah, I was surprised. But as soon as you learn that it’s Neil Adams that did the design. So Captain Planet, you look at them again and go, of course it was new items that did to the one template it

Ed Kearsley (01:04:57):
Morning. Show me.

Shannon Browning (01:05:01):
Yeah, we won’t start talking about Transformers again.

Ryan Christopher (01:05:04):
It ends up being the perfect segue sidebar to Ed’s comic about two robots smashing each other up.

Ed Kearsley (01:05:17):
That’s amazing. It’s old on show Ka.

Shannon Browning (01:05:27):
That is ringing a very, very vague

Nathan Judd (01:05:29):
Bell. Yeah, same. It wasn’t, Kalan was like a weird live action like stop notion show. I think it was weird. Yeah, I think that would be little toys that fight and they’d be like bla, and they’d put those comic sound effects onto it. No idea what it was about. But I think that’s what, it’s

Ryan Christopher (01:05:53):
Also the time of night where if anyone watching wants to be on the show, we’re going to put up a link for you.

Nathan Judd (01:06:03):
Do it if you want to be my replacement.

Ryan Christopher (01:06:08):
We’re actively marketing for Nathan’s replacement.

Shannon Browning (01:06:11):
I don’t get

Nathan Judd (01:06:11):
Asked

Ryan Christopher (01:06:13):
Show slash

Shannon Browning (01:06:15):
Interest. It’s just going to be a paper plate and a stick with a face drawn on

Nathan Judd (01:06:18):
It. Don’t talk about

Shannon Browning (01:06:20):
Print.

Nathan Judd (01:06:22):
A different artist can draw on the plate every week. The artist formerly known as Nathan right there.

Ryan Christopher (01:06:31):
But come on the show, it’s a whole bunch of fun. We do get to talking about comics in between some of the other things we talk about, but it’s great. It’s a great way to join the community and just talk about the books that you love and share that knowledge with people. Especially if you’ve read something like weird. There’s a million comics out there. It doesn’t have to be anything that’s been released recently. It can be indie publishes stuff from Australia or anywhere in the world. It could be your friend’s book, it could be anything. If it’s a published comic book, you’re welcome to come on the show and tell everyone about it, where they can get it, who did it, all that sort of info as well. So we’re going to put up another video for you and show you where you can pick up some amazing Aussie comics.

Voice Over (01:07:37):
Are you feeling a little down, tired of reading the same old books again and again looking for something different? Why not head over to the comic shop now and pick yourself up some freshly inked inspiration.

Shannon Browning (01:08:07):
That’s always scissors favourite part of the show, by the way.

Ryan Christopher (01:08:10):
It’s the number one comic ad in the comic space. All right, what time of the day is it now? Time to plug everyone.

Nathan Judd (01:08:28):
Hell yeah. Plug time.

Ryan Christopher (01:08:30):
If you’ve got something you want to talk about, you’re going to get. I’m going to be more flexible than sis. You’ll get as much time as you need without triggering me from our past. Transformers sidebar. So Nathan, what you’ve got going on,

Nathan Judd (01:08:55):
You can read my first issue of my comic. It’s up for free at Global Comics. I’ll post a link up after I plug it if you like. Thriller, sort of trippy kind of comics. We don’t quite know what’s going on, but it pays off. Yeah, that’s kind of what it’s about. It’s a bit of a mystery, but you should read it. It’s free work. On the second issue at the moment, I’ll hopefully be doing a quick startup for it later on, but it’s to get an idea. If you read that, I’d love to know what people think. I’m always keen for feedback on it. It’s all black and white, so I’m a huge fan of just black and white art in general and building that kind of medium up. Yeah, that’s it. Yeah, lemme know what you guys think. Appreciate it. Awesome.

Ryan Christopher (01:09:45):
How can anyone watching Say no to a free comic? This is a show about comics. It’s about reading comics you hear because you love comics. You’re being offered a free comic. All you’ve got to do is go to that link and it is free to read. It’s like free.

Justin (01:10:01):
I’ll appreciate. Yeah, you could read it and come on the show and review it.

Ryan Christopher (01:10:06):
Yeah, you could. We’ll have Nathan on here and you can review it to his face. I kid, I kid. It’s all in fun. Shannon, you got anything going on?

Shannon Browning (01:10:24):
Not a damn thing.

Ryan Christopher (01:10:25):
Not a damn thing. That is all good my friend. Justin, what do you got going on?

Justin (01:10:30):
So I’m just practising drawing as much as I can as I’m doing my thumbnails for my comic. That will be out whenever I damn well finish it. You can follow me on Instagram at jarrow illustrates it’s just art that I’m practising and practising and practising and practising and practising . But if you want to come on there and tell me about something that you’ve read, send me a pm I’ll be more than happy. I’m always looking for something new to read. So please

Ryan Christopher (01:11:02):
And give him a follow because support the artist journey as well. We’re all a community here, so everyone needs all the support they can get. So you get to sort of follow a comic book being sort of conceived and brought out into the world, which is pretty cool.

Nathan Judd (01:11:23):
You can watcher new bomber piece up there don’t hear it from me.

Justin (01:11:30):
Do I need to do that again? Do I

Nathan Judd (01:11:33):
What the No, it was good. It’s good. It’s very good. Well, balanced

Ryan Christopher (01:11:41):
Ed, what do you want to talk about?

Ed Kearsley (01:11:44):
I’ve got my comic book Radical. There’s three issues out. Number four is coming soon and Sea Manels from Earth and they’re on the comics shop, or you can buy ’em directly from me and Ed Kiley on Instagram and on Patreon and that’s it.

Ryan Christopher (01:12:11):
Awesome.

Justin (01:12:12):
Hey Eddie, is your skateboard still available as well?

Ed Kearsley (01:12:15):
Yes, I do have a couple left.

Ryan Christopher (01:12:18):
Yeah. Someone in the audience could be rocking a radical skateboard right now.

Shannon Browning (01:12:25):
I think I need to hang out. I get the feeling someone on the show wants to be rocking a radical skateboard.

Ryan Christopher (01:12:30):
He’s already scoping the walls to see if this somewhere put it up. If I move that Tron box, put some of those action figures over there.

Shannon Browning (01:12:40):
Justin, I have to say I’m very disappointed in you. There’s white space behind you.

Ryan Christopher (01:12:45):
I know, I know. It’s

Shannon Browning (01:12:46):
Terrible, isn’t it? You’re letting the side down, mate,

Justin (01:12:50):
So I apologise.

Ryan Christopher (01:12:55):
All right. Once again, if you want to be on the show, we’re going to put up a link for you. You can go through and you can request more than just recent reads. If you want to be on drink and draw, if you want to be on, let’s make a comic book. The whole suite of comic shows are available for you to select, so send that through and some will get into contact with you about which show you can be a part of. And they’re all fun. They’re all fun. You get to sit around with good people, you get to draw things, you get to talk about comics, you get to learn a whole lot hopefully, and based on everyone’s recommendations week after week, you just get poorer and poorer and poorer go by, but you get a nice fat bookshelf at the end of the year and that brings you joy. It doesn’t bring you movers joy, but it brings you joy temporarily. As long as you don’t have to think about the day when you eventually move and have to empty all those bookcases into small boxes and then carry those down a flight of stairs. Not that I’m talking from any sort of experience, any recent sort of event.

(01:14:12)
Yeah,

Shannon Browning (01:14:12):
Ryan, that’s funny how nostalgia really works, but go on.

Ryan Christopher (01:14:17):
Is that nostalgia or is that trauma? I’m not entirely sure.

Shannon Browning (01:14:22):
It sounded like you’re having a little bit of an existential little dilemma there in front of us, but I think

Ryan Christopher (01:14:25):
It was a flashback.

Justin (01:14:27):
It’s like collecting and hoarding of the same thing.

Ryan Christopher (01:14:30):
Same thing, yeah. It’s just from the perspective of the individual.

Shannon Browning (01:14:33):
The only difference between collecting and hoarding is collecting is organised.

Justin (01:14:40):
They don’t have an app for how you store your hoarding stuff, but they do for you collecting stuff.

Ryan Christopher (01:14:48):
Last thing everyone can do for us, give us a subscribe, click the little bell, get notifications, and you’ll get notified when all new comics, not just for this show, for all of the shows across comics, anytime new content goes live, you’ll get a little notification to know about it and we’d appreciate it. We’ve cracked 500 subscribers, which is absolutely phenomenal, and we want to keep growing the channel and we do that by shares, likes, subscribes, and making sure that you’re checking out the shows and supporting the different Comex Ventures. One thing I want to mention before we wrap it up for any death ship, Jenny fans out there, Rob O’Connor is currently got death ship Jenny issue five invasion upon Kickstarter, and I haven’t checked the goal as of yet, but I think it’s gone pretty strong. And so jump on board, pick up the newest issue of death ship. Jenny, you won’t regret it. It’s probably in the absolute top tier of Australian comics being made anywhere in the country right now, so get on board. Other than that, we’re going to go around. Everyone can say goodbye. Thanks, ed.

Ed Kearsley (01:16:15):
Thank you.

Ryan Christopher (01:16:16):
Thanks Nathan. Thanks Shannon. Thank you. Thanks Justin, and thanks everyone for watching and we’ll see you next week. Bye bye.

Voice Over (01:16:29):
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