[00:00.000 --> 00:29.960] Your ears do not deceive you. You've just entered the Cryptid Creator Corner brought to you by your friends at Comic Book Yeti. So without further ado, let's get on to the interview. Hello and welcome to another episode of Comic Book Yeti's Cryptid Creator Corner. I'm one of your host Jimmy Gaspero. And man, I am so excited about this episode because I have three creators on that were on about five months ago if you're a regular listener of the podcast. And we're going to talk about the first arc of the episode.
[00:30.000 --> 00:59.000] So I have Ethan Parker, Griffin Sheridan and Bob Quinn, the creative team along with Letter of Designer John J. Hill. But the three of them are the creative team behind Kill Your Darlings, which has just totally captivated my imagination. I absolutely love it. It's out from Image Comics. And as we record this in January, issue five is going to be out on January.
[00:59.000 --> 01:12.000] So by the time you're listening this, you can pick up issues one through five. This is going to drop right before issue six comes out, which I think is slated for St. Valentine's Day, February 14th.
[01:12.000 --> 01:14.000] Is it really? Wow, I didn't even...
[01:14.000 --> 01:24.000] Yes, six is out on Valentine's Day. Seven is out on my birthday. And I think it's going to be pretty damn close to your birthday when issue eight drops either.
[01:24.000 --> 01:25.000] Yeah, that's true.
[01:25.000 --> 01:34.000] Yeah, yeah, yeah. But I just... A fair warning here, and I'll put something in the show notes as well, that we're going to talk a lot about issues one through four.
[01:34.000 --> 01:38.000] And this is something that I haven't really done before, because a lot of times folks come on the podcast.
[01:38.000 --> 01:42.000] And if you've listened before, you know that they're going to promote their work and they're talking a little bit about it.
[01:42.000 --> 01:49.000] They want you to go out and buy it and check it out or get it from your library. However you get your comic books or graphic novels.
[01:49.000 --> 02:02.000] But I have just really loved this and Griffin reached out to me and I was excited to have everybody back to really kind of dive in and talk about issues one through four of kill your darling.
[02:02.000 --> 02:12.000] So if you've not read them yet and you do not want to be spoiled, go get them. And then hit pause and go get them, read them, and then come back.
[02:12.000 --> 02:26.000] And we're really going to hopefully dive in and talk to about like some of the choices, some of the influences, some of Bob's work, which is just absolutely incredible, the design of this world.
[02:26.000 --> 02:29.000] I absolutely love it.
[02:29.000 --> 02:35.000] Listeners, you can't see what's going on, but I think Bob is dabbing.
[02:36.000 --> 02:48.000] I think that's what I have a, I have my favorite t-shirt which is a skeleton dabbing and I just realized I was wearing it and I was like what a perfect opportunity to act like a complete jackass on the show.
[02:48.000 --> 02:50.000] But that's fine. We allow that.
[02:50.000 --> 02:57.000] So without further ado, Ethan Griffin and Bob, thanks for coming back to the podcast.
[02:57.000 --> 02:59.000] Thank you so much for having us.
[03:00.000 --> 03:02.000] What a welcome. What an intro.
[03:02.000 --> 03:17.000] I mean, yeah, Jimmy, we are just as excited to be back here. The first time when we were doing like that first round of press, that was all like right before the final order cut off of issue one, which was still even a month before she won't even came out.
[03:18.000 --> 03:24.000] And so everything had to be talked in such vague terms and terrified.
[03:24.000 --> 03:29.000] That was one of the most mentally intense periods of my entire life.
[03:29.000 --> 03:33.000] And so I'm happy to be back here in a better mental state.
[03:33.000 --> 03:42.000] Yeah, and we can like actually talk about the book instead of just being like, yeah, no one's going to expect the ending. That's for sure.
[03:43.000 --> 03:44.000] Yeah.
[03:44.000 --> 03:45.000] Yeah.
[03:45.000 --> 03:46.000] Yeah.
[03:46.000 --> 03:52.000] And so, so yeah, so, um, and like we said, if you're listening to this issue, five will already be out.
[03:52.000 --> 03:55.000] Six is coming out February 14th and then.
[03:55.000 --> 03:59.000] Seven and eight will be out March and April, right?
[03:59.000 --> 04:02.000] So, uh, pre-order now.
[04:02.000 --> 04:04.000] Get it on your pull list.
[04:05.000 --> 04:22.000] Let me, let me start in and I'll, I'll talk a little, my, my piece about it. And you know, I know that I had seen issue one and we talked around some of the things and I first and foremost is I tend to be very much into story and I've, I've said this on the podcast before that I really
[04:22.000 --> 04:31.000] have to stop myself from like, because I'm a fast reader and like even reading books as a kid, I would fly through stuff, but I still have a tendency to do that with comics.
[04:31.000 --> 04:45.000] I really have to stop myself and focus on like the artwork and the visual storytelling, like I find myself still sometimes just reason through the words and then I got to go back and actually look at what's going on on the page.
[04:45.000 --> 04:53.000] Um, this kill your darlings though, Bob, I just love your work.
[04:53.000 --> 05:06.000] I absolutely love it. I mean, there is just, there's such a mix of kind of whimsy and menace in these pages that I think is just some, it's just fascinating to me.
[05:06.000 --> 05:16.000] The design of the characters, the action sequences, how you kind of go between the two, sometimes in the same panel.
[05:17.000 --> 05:29.000] It's, it's some of the most dynamic, bright, fun, but like I said, menacing artwork on the stands right now and I just can't get enough of it.
[05:29.000 --> 05:34.000] I cannot tell you how much that means to me. I really, really, really appreciate it.
[05:35.000 --> 05:48.000] This book has been an absolute labor of love. Griffin and Ethan gave me so much great stuff to work with. And I just couldn't be happier with the, with the final output.
[05:48.000 --> 05:57.000] I've said it before and I will continue to say it is the best work of my career. I've never been happier with anything I've ever made in hammer.
[05:58.000 --> 06:03.000] How lucky for you.
[06:03.000 --> 06:24.000] So for listeners who might have read, but you know, just to catch them up. So essentially with the story of Kill Your Darlings and I guess issues one, two and three kind of had a bit of a cold open that's set in the past, which the character I think that is now known as like the, the woman who wouldn't burn.
[06:25.000 --> 06:35.000] And we're in the 1692 and then it's eight years later, I think it's 1700. And then there's a jump to, I think 1840.
[06:35.000 --> 06:53.000] You know, and we're kind of seeing a little bit how those elements are kind of woven into the greater story issue for I thought, you know, where will we be now? And I found it very interesting that you started issue for with basically not so much as a cold open, but kind of like a flashback.
[06:54.000 --> 07:03.000] To, you know, our main characters kind of like past with her mother.
[07:03.000 --> 07:12.000] And so like, like so many things I want to talk about when I was while I start there, since I got there, I'll start there.
[07:13.000 --> 07:33.000] Why the choice there to deviate from what you've done so far with issues one, two and three and have and do a cold open kind of, or do the opening of it a little different and kind of focus it in on Rose.
[07:33.000 --> 07:43.000] So we, we, we had established really heavily a pattern with the first few people, people have responded to the first three issues as if they're pretty disorienting.
[07:43.000 --> 07:55.000] And they are in some ways, but we also do very clearly give you like a template where it's like you get your first scene with this mysterious other character in the past and you're getting clues about what's going on there.
[07:55.000 --> 08:00.000] And you join Rose and her journey into her own fantasy and everything.
[08:00.000 --> 08:07.000] And we were really excited for the moment to get to sort of start to pull the rug out from under people as soon as possible.
[08:07.000 --> 08:16.000] And that very much becomes like, you know, part of our MO, you know, leading into the next several issues and the rest of the series is big rug pulls.
[08:17.000 --> 08:26.000] And four, as you're hitting that midpoint where everything starts to fall apart and go wrong, but also everything starts to converge and come together.
[08:26.000 --> 08:45.000] It felt very right to break the format and start really like given surprises and subverting expectations because the issue is, you know, about finding out more about roses past than you ever knew but and more than she was, you know, willing to sort of acknowledge.
[08:45.000 --> 08:58.000] But then right there at the end, the girl who wouldn't burn shows up in the issue finally unexpectedly in the present day. And so it's like, you know, we're like, we're really trying to keep you on your toes that whole time of like, oh, she's not in this one.
[08:58.000 --> 09:04.000] And then you get to the end, you're like, Oh my fucking God, she's in this one.
[09:05.000 --> 09:16.000] If that was part of it like, oh, we're not going to start it here because we're going to get there by the end of the issue for the idea of the rug being pulled out from from under you.
[09:16.000 --> 09:25.000] And I mean, I'm kind of a mind where I kind of, I like that, you know, I like to I like to not know where it's going.
[09:26.000 --> 09:44.000] I have a friend who does a teaches a class about movies and particularly bad movies and talks a lot about how because he has written scripts before and because he studies film and has studied film and college and teaches it at a college.
[09:44.000 --> 09:51.000] He can kind of see like what the story beats are for a lot of things and it's very rare that something surprises him.
[09:51.000 --> 10:05.000] And I thought of that same thing and kill your darlings is one that has surprised me at every turn in particular, just when I think sometimes I know where it's going and especially to go back to the first issue.
[10:05.000 --> 10:16.000] When you have like this cute fun fantasy world that Rose goes into like when she's not home she's in her kingdom and playing with her stuffed animals and it's all very fun.
[10:17.000 --> 10:29.000] And, but when when there's that scene of their like massacre and and it's like it's not just stuffing like in the world that she's in like it is blood and and like that is upsetting.
[10:29.000 --> 10:31.000] I don't know why Bob did it. We didn't know.
[10:31.000 --> 10:36.000] Yeah, I was just like guys, I've got a whole idea for this.
[10:36.000 --> 10:37.000] And it would be pretty bad.
[10:37.000 --> 10:39.000] We tried to stop it.
[10:40.000 --> 10:42.000] Oh, yeah, no.
[10:42.000 --> 10:54.000] And it leads to the, you know, the great and terrible evil and then it just turns again where the house is on fire. It's just like one thing after another.
[10:54.000 --> 11:03.000] You know, as I had no idea what to expect from from issue two and then we again get a cold open.
[11:04.000 --> 11:07.000] Eight years later, again, a lovely scene.
[11:07.000 --> 11:11.000] Just some ladies out in the woods having a nice time.
[11:11.000 --> 11:14.000] And then some men kill them.
[11:14.000 --> 11:19.000] And then those men are then killed by trees in a very gruesome way.
[11:19.000 --> 11:22.000] I mean, what's what's wrong with you? You said everybody is by money.
[11:22.000 --> 11:26.000] You weren't a horror guy. Why did you do that?
[11:26.000 --> 11:27.000] You're a liar.
[11:27.000 --> 11:29.000] Some of those girls.
[11:29.000 --> 11:32.000] They've changed me.
[11:32.000 --> 11:36.000] We got our fingers in Bob.
[11:36.000 --> 11:42.000] There's a, there's a bit of imagery in one of the upcoming issues and that's what they did to my brother.
[11:42.000 --> 11:43.000] Yeah.
[11:43.000 --> 11:46.000] Is that, is that a statement cover out? Yeah. Yeah, I think it is.
[11:46.000 --> 11:47.000] Yeah, I think it is.
[11:47.000 --> 11:48.000] There's a statement.
[11:48.000 --> 11:53.000] Or you can see in real time what we've done to Bob's brain. Oh, no.
[11:53.000 --> 12:00.000] But that, that, there is, there's something though about, you know, I think of a, I read a fair number of,
[12:00.000 --> 12:03.000] of horror comics.
[12:03.000 --> 12:10.000] And there's something about horror that is set in like a bright world that I find so much worth.
[12:10.000 --> 12:12.000] I mean, something like something is killing the children.
[12:12.000 --> 12:17.000] I think I've read every episode, every issue except the most recent one.
[12:17.000 --> 12:20.000] But a lot of times the coloring in that, I think it's great.
[12:20.000 --> 12:22.000] And it suits that world very, very well.
[12:22.000 --> 12:23.000] Yeah.
[12:23.000 --> 12:27.000] But there's a lot of darker like muted tones in it, you know, it's, it's set at night a lot.
[12:28.000 --> 12:30.000] And works for that comic beautifully.
[12:30.000 --> 12:35.000] But yeah, there is just something about a man being torn apart in quite freakin' daylight.
[12:35.000 --> 12:36.000] Yeah.
[12:36.000 --> 12:37.000] Yeah.
[12:37.000 --> 12:45.000] I think the scene, the, the scene's even described in the script for issue two is described as being like very serene.
[12:45.000 --> 12:48.000] It's like a wonderful like setting.
[12:48.000 --> 12:56.000] It's kind of the opposite of where we open with issue one where it's like the dead of night and the full moon is there and there's like smoke billowing and everything.
[12:56.000 --> 12:59.000] And now it's just like, what if it was like a beautiful autumn day in the woods?
[12:59.000 --> 13:03.000] And it's like, someone was just had a, had like a little nice cabin in it.
[13:03.000 --> 13:06.000] I mean, we love, I love contrast.
[13:06.000 --> 13:10.000] Well, you know, like it's, it's like, you could, you could, you could go like that.
[13:10.000 --> 13:15.000] It's, it's usually not the obvious route to, to, to make sure there's a lot of contrast in the scene.
[13:15.000 --> 13:18.000] And, but it ends up being like, you know, butter and jelly.
[13:18.000 --> 13:24.000] You end up, one, one side of something always ends up heightening the other side of something, or at least usually.
[13:25.000 --> 13:37.000] There's, there's also something to what, like exactly what you're saying, Jimmy, where it's like horror scenes that take place in the middle of the day because like the day is there and the light is there and it's supposed to feel safer.
[13:37.000 --> 13:39.000] You feel like there's supposed to be more people around during the day.
[13:39.000 --> 13:48.000] So when something that terrible happens in the middle of the day, it feels like it is even more of a violation of everyone's safety.
[13:49.000 --> 13:52.000] And we've talked a lot about some of the like touchstones for the book.
[13:52.000 --> 14:07.000] Are yes, there's hereditary being one of them, but also his follow up to that movie, Midsummer is, I think, a perfect example of hard of why that movie works so much is like the delirious sort of quality of all these terrible things happening during daylight.
[14:07.000 --> 14:15.000] There's, there's definitely like a little bit of Halloween happening in that first issue with like the kid on the front lawn and everything.
[14:15.000 --> 14:26.000] I was going to say to Texas Chainsaw because like the, the start of that movie is like in that bright daylight and it's like, oh, we're hanging out, man, we're having this great time and then like, like stuff so starkly will happen.
[14:26.000 --> 14:30.000] It's such a well-lit scene. And yeah, like, yeah, there's really something to it.
[14:30.000 --> 14:34.000] Or it's just like, there's nowhere for anybody to hide. There's just things happening.
[14:34.000 --> 14:35.000] Yeah.
[14:35.000 --> 14:36.000] Mm hmm.
[14:37.000 --> 14:53.000] And, and so then issue two, as issue two goes on and we meet up again with Rose, who is now at like the, I think it's called the Anderson Center, but she's now after what happened with her mother and the house burning down and one we find her in the Anderson Center.
[14:53.000 --> 15:02.000] And one of the things I really loved is the coloring in this, like that kind of green throughout while she's in the Anderson Center.
[15:03.000 --> 15:25.000] It's, it's very different than I think a lot of issue one was colored and I really like that and that kind of goes into then a, the, the scene with the, where the sprinklers go off, which I think drawing rain in a inside has to be a difficult task to look at, make it look like so effective Bob.
[15:25.000 --> 15:38.000] Yeah, I spent a lot of time actually googling what happens with the actually, I was able to find some images of what sprinklers look like when they go off inside buildings.
[15:38.000 --> 15:44.000] And then it becomes a lot about the way the light plays off of the actual droplets, which is what I was trying to capture.
[15:44.000 --> 15:50.000] I think I did an okay job of it. Um, I, you know, if he gave me another chance, I'd probably do it better.
[15:50.000 --> 15:53.000] But I didn't know you did. You had to research that. That's awesome.
[15:53.000 --> 15:56.000] Yeah, because it doesn't, it doesn't do what you think it's going to do.
[15:56.000 --> 16:00.000] Um, it has a, because like there's a lot more, I don't want to get into it.
[16:00.000 --> 16:02.000] It looks great.
[16:02.000 --> 16:04.000] More complex than I thought it was.
[16:04.000 --> 16:07.000] If I could, I would set every scene in the rain.
[16:07.000 --> 16:09.000] I'd be okay with that actually.
[16:09.000 --> 16:10.000] Yeah.
[16:10.000 --> 16:11.000] Yeah.
[16:11.000 --> 16:13.000] You can blur out the background.
[16:13.000 --> 16:14.000] Oh, yeah.
[16:14.000 --> 16:15.000] I mean, that's what I did.
[16:15.000 --> 16:17.000] It was beautiful.
[16:17.000 --> 16:18.000] It was beautiful.
[16:18.000 --> 16:19.000] Worked great.
[16:19.000 --> 16:20.000] Yeah.
[16:20.000 --> 16:27.000] Um, so, uh, one of the things I wanted to ask, because we, we, we get, we are reintroduced to Elliot as well.
[16:27.000 --> 16:33.000] Uh, Rose's friend, who's still, you know, he, he's visiting her once a plan, like a breakout.
[16:33.000 --> 16:39.000] And it seemed like that's where, where things were headed. And then again, another surprise.
[16:39.000 --> 16:44.000] Uh, Wallace, who is an Ella Pig shows up.
[16:45.000 --> 16:48.000] From, from Rose's fantasy world shows up.
[16:48.000 --> 16:53.000] And I, again, did not know what to expect here.
[16:53.000 --> 16:58.000] If this is like a, um, I was trying to think of other things that reminded me of, but.
[16:58.000 --> 17:02.000] Didn't know if this was going to be like, Oh, well, this is part of Rose's psychosis.
[17:02.000 --> 17:07.000] Um, there were a lot of inset panels of medicine, which we thought were really, really well done.
[17:07.000 --> 17:09.000] So I'm like, is this like a medication issue?
[17:09.000 --> 17:11.000] Is this now?
[17:11.000 --> 17:17.000] Again, like what, is this what happened with the fire that it's a mix of this fantasy world that she's getting lost in and she's doing all this.
[17:17.000 --> 17:22.000] And then lo and behold, Ellie shows up and you can see Wallace and I'm like, well, fuck me. I don't know.
[17:22.000 --> 17:26.000] That's awesome.
[17:26.000 --> 17:28.000] Yes.
[17:28.000 --> 17:29.000] Yeah.
[17:29.000 --> 17:33.000] Uh, certain, there's certain comic books that I read that I really, really want.
[17:33.000 --> 17:38.000] Um, then I really want to like them to make an action figure so I can like.
[17:39.000 --> 17:40.000] My office.
[17:40.000 --> 17:41.000] Yeah.
[17:41.000 --> 17:42.000] My law office.
[17:42.000 --> 17:44.000] So people come by and they're like, what's that little guy?
[17:44.000 --> 17:49.000] Uh, um, Wallace is joining the pantheon.
[17:49.000 --> 17:54.000] I want a little Australian Ella Pig with that.
[17:54.000 --> 18:00.000] Holding his bow and arrow with like a plushie is the dream, like a squish model of Wallace.
[18:00.000 --> 18:01.000] Yeah.
[18:01.000 --> 18:02.000] Absolutely.
[18:02.000 --> 18:03.000] Definitely.
[18:03.000 --> 18:04.000] Yeah.
[18:04.000 --> 18:07.000] He's so ugly, but also so so violent sometimes.
[18:07.000 --> 18:12.000] He's like, you know, he's, he's, he's, he's, he's not a murderer.
[18:12.000 --> 18:13.000] He's a protector.
[18:13.000 --> 18:15.000] He's a, he's a righteous warrior.
[18:15.000 --> 18:16.000] He does what he has to do.
[18:16.000 --> 18:23.000] I, I, that was something that we were going to play around with for a longer was this thing of like, is what's happening in her head or not.
[18:23.000 --> 18:29.000] And, and I've seen some people comment about that about being like, Oh, I thought that might be more of a question for longer.
[18:29.000 --> 18:35.000] And I think there were versions of the story where you, you were supposed to question that for longer, but it just like.
[18:35.000 --> 18:37.000] There's so much we're trying to do in this in that way.
[18:37.000 --> 18:39.000] And that wasn't one of the most important elements.
[18:39.000 --> 18:45.000] And so it was fun for a moment to have her be like, it, like, am I, am I losing it?
[18:45.000 --> 18:46.000] Like what's going on?
[18:46.000 --> 18:59.000] But like, yeah, in, in the interest of just keeping, you know, keeping everything fresh and like, and everything, like that was a question that we felt fine just throwing out of the way of just having, like, because it is, it's even more interesting, I think, to have the answer be like.
[18:59.000 --> 19:02.000] Oh, Elliot's like, Oh, that's a fucking, that's an elephant.
[19:02.000 --> 19:08.000] Yeah, because yeah, it's like, I think it's a more interesting question rather than like, is she crazy?
[19:08.000 --> 19:13.000] The question then becomes like, okay, well, then what does that, what is happening now?
[19:13.000 --> 19:14.000] Yeah.
[19:14.000 --> 19:22.000] And how many times have we done like, Oh, like, we have to do the whole thing of like, um, am I seeing what I'm seeing?
[19:22.000 --> 19:25.000] Yeah, I just want to fucking skip, skip it.
[19:25.000 --> 19:26.000] Like too many times.
[19:26.000 --> 19:27.000] Like, I don't know.
[19:27.000 --> 19:35.000] That's become a real thing for us is like, yeah, we hit a, like a wall of something like that, or like, this is the part of the story where this happens.
[19:35.000 --> 19:37.000] And then we're just like, skip.
[19:37.000 --> 19:43.000] I would think that writing something like this, that has to be the, the fun of it.
[19:43.000 --> 19:51.000] And not just because the interactions went Elliot and, and Wallace, especially the two of them together really inject some like humor.
[19:51.000 --> 19:54.000] Into it where I think it's like, it's, it's needed.
[19:54.000 --> 20:05.000] Not that every horror book also has to have like a humor element. Like, I, I like that, you know, like evil dead to army of darkness, which gets into camp, which I don't think this killer darlings is at all.
[20:05.000 --> 20:08.000] But some of those elements, I think work really well.
[20:08.000 --> 20:10.000] Um, we don't have any peaks.
[20:10.000 --> 20:11.000] You can't have any valleys, right?
[20:11.000 --> 20:13.000] So it's like, yeah, exactly.
[20:13.000 --> 20:20.000] Um, but the, the, I would think that some of the fun of writing it would be to take like that type of trope.
[20:20.000 --> 20:21.000] Like, Oh, okay.
[20:21.000 --> 20:24.000] Here's, is this, is this person mentally ill as this happening in their head?
[20:24.000 --> 20:26.000] And like they struggle with it.
[20:26.000 --> 20:34.000] Like you have like maybe two or three pages of, um, her and Elliot, where you establish their relationship is still going on.
[20:34.000 --> 20:37.000] They are still playing the card game there.
[20:37.000 --> 20:39.000] They're still doing those types of things.
[20:39.000 --> 20:40.000] He's talking.
[20:40.000 --> 20:42.000] There's a real friendship there.
[20:42.000 --> 20:47.000] Like you really quickly in the, the writing as well as the visuals say that these guys are still friends.
[20:47.000 --> 20:49.000] They still care about each other.
[20:49.000 --> 20:58.000] Here's what's happened since like it's a real great way to catch the reader up on what has been happening in the eight years without doing like a big narrative exposition dump.
[20:58.000 --> 21:00.000] And then you're like, yeah, I see that.
[21:00.000 --> 21:03.000] I see that, that little Australian thing too.
[21:03.000 --> 21:04.000] Yeah.
[21:04.000 --> 21:06.000] Yeah.
[21:06.000 --> 21:07.000] Yeah.
[21:07.000 --> 21:09.000] And then it, and then it goes off from there.
[21:09.000 --> 21:15.000] And then again, they end up in, um, you know, Rose's fantasy world.
[21:15.000 --> 21:16.000] Yeah.
[21:16.000 --> 21:17.000] Like, again, like very quickly.
[21:17.000 --> 21:23.000] Like it isn't, it isn't like we have to go on some long search or do some magical thing.
[21:23.000 --> 21:25.000] It's like here, we're going to go in here.
[21:25.000 --> 21:26.000] Here it is.
[21:26.000 --> 21:27.000] Let's go.
[21:27.000 --> 21:28.000] Let's get like right at it.
[21:28.000 --> 21:34.000] Um, you just like the storytelling and the writing is very, everything's heads on.
[21:34.000 --> 21:35.000] I feel like.
[21:35.000 --> 21:36.000] Well, thank you.
[21:36.000 --> 21:38.000] That's one of the most famous parts.
[21:39.000 --> 21:55.000] I think like, like, especially doing something like this, where it's like we are trying to make a bit of a, like a sprawling kind of saga with it that spans a lot of time and, um, and like a lot of periods of like different characters lives and like the, it ends up being one of the biggest challenges,
[21:55.000 --> 21:59.000] like figuring out what are the parts that should, should have the focus.
[21:59.000 --> 22:01.000] Like where does the meat go to?
[22:02.000 --> 22:03.000] And what, what is really not that important?
[22:03.000 --> 22:15.000] Like, even sometimes like you'll have a scene or a sequence or something that sounds fun or sounds interesting, but it's like, is that like what the point of this is though or is that where the focus should be because you're always, it's always page count.
[22:15.000 --> 22:21.000] It's always like, it's always like where, you know, like doing things as efficiently as possible.
[22:21.000 --> 22:24.000] Um, and we set a very specific limit for ourselves.
[22:24.000 --> 22:25.000] It's like it's eight issues.
[22:25.000 --> 22:26.000] They're, you know, they're basic.
[22:26.000 --> 22:28.000] They're 20 ish pages.
[22:28.000 --> 22:29.000] I know Bob.
[22:29.000 --> 22:31.000] They're not all 20 pages.
[22:31.000 --> 22:38.000] And so it's all about just that.
[22:38.000 --> 22:40.000] Yeah, that inventory is like moving around.
[22:40.000 --> 22:41.000] Yeah.
[22:41.000 --> 22:46.000] And we pretty much said from the jump that's going to be 21 pages of art.
[22:46.000 --> 22:47.000] Right.
[22:47.000 --> 22:52.000] For each issue, issues one and eight with standing.
[22:52.000 --> 22:53.000] Yeah.
[22:54.000 --> 23:10.000] But we said, no, we want, even though like we're an independent book, we could hypothetically go as long as we wanted slash as long as Bob would permit us to go slash how long could we go before we started spending more money.
[23:10.000 --> 23:12.000] I'm printing the damn thing than we would make.
[23:12.000 --> 23:14.000] So we were very determined.
[23:14.000 --> 23:19.000] It's going to be an average issues length, especially because Ethan and I are new to this.
[23:19.000 --> 23:23.000] We want to kind of get used to that specific shape.
[23:23.000 --> 23:34.000] Uh, but, but then also in doing the cold opens, we kind of trimmed down the actual like usable space to like 16, 17 pages.
[23:34.000 --> 23:39.000] Uh, not that the like the cold opens are very, very important to the story.
[23:40.000 --> 23:53.000] But also in terms of like the, the sort of thrust that gets us to the next issue, that's all in the rose part of it, which is now not 20 pages, it is now 18 pages or 17 pages, however long the opening is.
[23:53.000 --> 24:02.000] And so the story has always had to be the most efficient version of the story that we could possibly make.
[24:02.000 --> 24:15.000] And so the books called kill your darlings, we had to kill many, many darlings, but I think it is, it is for the best because now we have this book that just kind of doesn't, doesn't quit.
[24:15.000 --> 24:16.000] It doesn't slow down.
[24:16.000 --> 24:17.000] Totally.
[24:17.000 --> 24:18.000] All killer.
[24:18.000 --> 24:19.000] No filler.
[24:19.000 --> 24:22.000] I really, I really love the 20, the 20 page format.
[24:22.000 --> 24:31.000] Like I really think it's, especially when you're like approaching it the way that we are where like you don't want to go, you don't typically want to do more than six panel pages.
[24:31.000 --> 24:33.000] You can do a seven if you have to.
[24:33.000 --> 24:45.000] But like keeping them kind of big, keeping it, keeping pages fairly immersive and having room to breathe and everything like, I think a 20 page issue like is like, that is a really great way to make sure that your story keeps moving.
[24:45.000 --> 24:57.000] And that's props that I really want to give to Griffin as well as because like Griffin will Griffin skeletons out every issue before I get in there and like I do dialogue getting character beat stuff and everything and like Griffin is really good at allocating space to things.
[24:58.000 --> 25:10.000] I'm like, I'm like, figuring out the pacing of things like he's had to do some real puzzle work with that of like how to make an issue work that has an insane amount of story and an insane amount of things we're trying to accomplish.
[25:10.000 --> 25:17.000] And yeah, like I always, I'm always very confident in our approach when like I see that skeleton for the first time.
[25:17.000 --> 25:19.000] I'm like, okay, yeah, no, this, this might all fit.
[25:19.000 --> 25:21.000] This might all work.
[25:21.000 --> 25:22.000] Thanks.
[25:23.000 --> 25:30.000] I mean, the, the economy of space, you know, and the pacing of this.
[25:30.000 --> 25:41.000] So after the Anderson Center and Wallace and Elliot were issue three jumped to 1887 for the cold open, which is the grossest one yet.
[25:41.000 --> 25:43.000] It's just terrible.
[25:43.000 --> 25:47.000] The one of the things I do want to say.
[25:48.000 --> 25:50.000] I always find it.
[25:50.000 --> 25:56.000] I struggle a little bit with sound effects with like, what does this sound like?
[25:56.000 --> 25:57.000] I'm sorry.
[25:57.000 --> 26:02.000] There's the second page of the cold open of issue three.
[26:02.000 --> 26:08.000] And I'm assuming, I'm guessing like John Jay Hill does the sound effects letters, you know, lettering to.
[26:08.000 --> 26:09.000] Yeah, I don't know.
[26:10.000 --> 26:12.000] But squelch gish.
[26:12.000 --> 26:13.000] Yeah.
[26:13.000 --> 26:17.000] Just when I saw what the squelch gish was, I was like, yeah, squelch gish.
[26:17.000 --> 26:18.000] That's pretty disgusting.
[26:18.000 --> 26:20.000] They really get so good.
[26:20.000 --> 26:21.000] So good.
[26:21.000 --> 26:26.000] And it looks so good on the page that I really like.
[26:26.000 --> 26:35.000] Another thing I want to shout out in issue three.
[26:36.000 --> 26:39.000] I'm going to go to Rose's world.
[26:39.000 --> 26:43.000] But there's a five panel page.
[26:43.000 --> 26:49.000] Wallace is doing his business in the background and Elliot and Rose are talking.
[26:49.000 --> 26:51.000] So, you know, like a talking head kind of scene.
[26:51.000 --> 26:57.000] Elliot, though, what he's there, what Wallace is doing in the background kind of keeps it moving.
[26:57.000 --> 27:02.000] But also when Rose realizes that they kind of tore down the neighborhood and this is what they built.
[27:03.000 --> 27:07.000] And she says a line about, you know, her house was right over there.
[27:07.000 --> 27:12.000] I don't usually like to like read from the comic, but, but.
[27:12.000 --> 27:13.000] At least this.
[27:13.000 --> 27:14.000] Yeah.
[27:14.000 --> 27:17.000] Now you can get to new releases for eight dollars on Friday.
[27:17.000 --> 27:18.000] I mean, I lost it.
[27:18.000 --> 27:27.000] I just, I don't know why that line hit me so hard because she's just realizing what she's missed out on and what has happened for the past eight years.
[27:28.000 --> 27:29.000] I love that.
[27:29.000 --> 27:33.000] Because it felt like a callback to one of my favorite lines from a gross point blank where he goes back.
[27:33.000 --> 27:35.000] I thought it's almost a convenience store.
[27:35.000 --> 27:36.000] He goes, you can never go home again.
[27:36.000 --> 27:37.000] Oh, man.
[27:37.000 --> 27:38.000] But I guess you can shop there.
[27:38.000 --> 27:39.000] Yeah.
[27:39.000 --> 27:43.000] This is like my favorite joke.
[27:43.000 --> 27:44.000] That's.
[27:44.000 --> 27:45.000] Yeah.
[27:45.000 --> 27:48.000] That page is one of my favorite in the whole series.
[27:48.000 --> 27:51.000] Like, yeah, the, the, the wall is in it.
[27:51.000 --> 27:53.000] It's, it's all so fucking.
[27:54.000 --> 27:55.000] Yeah.
[27:55.000 --> 28:01.000] I, it's, it's great because we're kind of moving into actually some of the most fun we've had in the book pretty much since.
[28:01.000 --> 28:06.000] Like the very beginning of issue one with Rose and, and all of her friends.
[28:06.000 --> 28:12.000] And so we're moving into a more cheerful section of the series of the issue.
[28:12.000 --> 28:22.000] And Wallace, like Elliott cracking the joke and Wallace throwing the brick through the window is kind of like while Rose is like really sad about this and we've just come off a terrible opening.
[28:22.000 --> 28:25.000] We've just come off like a really upsetting issue too.
[28:25.000 --> 28:29.000] So now is kind of the moment where it's like, are we going to be sad again for this issue?
[28:29.000 --> 28:31.000] And it's just like, no fucking.
[28:31.000 --> 28:33.000] Here we go.
[28:33.000 --> 28:34.000] Yeah.
[28:34.000 --> 28:35.000] This one's a fun one.
[28:35.000 --> 28:36.000] Let's go.
[28:36.000 --> 28:44.000] And then I'm curious in terms of like, there's that the two pages where they kind of break into the world.
[28:44.000 --> 28:48.000] So I know this is an audio medium.
[28:48.000 --> 28:55.000] So sorry listeners, but if you're listening this far in and you've you've read it, you'll you'll remember what I'm talking about.
[28:55.000 --> 29:03.000] So the left side is kind of like a mirror image with the sound effect going through and the right side is them against the door and it kind of like goes.
[29:03.000 --> 29:07.000] I guess I follow it like clockwise and it's all different colors.
[29:07.000 --> 29:08.000] Yeah.
[29:08.000 --> 29:09.000] I'm very curious.
[29:09.000 --> 29:16.000] It's like how that was scripted and how that that page kind of developed because look we're breaking into what's what are we doing here.
[29:16.000 --> 29:19.000] We're going from the real world into this fantasy world.
[29:19.000 --> 29:24.000] Let's just say that that can be done and shown a million different ways.
[29:24.000 --> 29:27.000] How did you settle on like this design for it?
[29:27.000 --> 29:29.000] Because it just it looks great.
[29:29.000 --> 29:30.000] It looks different.
[29:30.000 --> 29:36.000] I love the colors of it, especially when you find out kind of what's been happening in the fantasy world.
[29:36.000 --> 29:37.000] So how was that like scripted?
[29:37.000 --> 29:38.000] What went into that and Bob?
[29:38.000 --> 29:40.000] What was kind of your thoughts?
[29:40.000 --> 29:45.000] This is one of the only visual ideas I had for the entire book.
[29:46.000 --> 29:52.000] I really mean, yeah, because like this like the actual concept of like turning around the double page spread.
[29:52.000 --> 29:54.000] I was like, that would be cool.
[29:54.000 --> 29:56.000] And like I did like a shitty little sketch of it.
[29:56.000 --> 30:01.000] Griffin like typically like, well, like come up with visuals for the script and then Bob would like execute them.
[30:01.000 --> 30:03.000] That was something that I was like, is this anything?
[30:03.000 --> 30:06.000] And then we got on a call and Bob like did his version of it.
[30:06.000 --> 30:10.000] And it's like, oh, yeah, no, that's like, yeah, that's like what it would look like if it was good.
[30:10.000 --> 30:15.000] And then taking it to the extent where he like, yeah, went in with all the colors and shit.
[30:15.000 --> 30:16.000] That's yeah, that's all.
[30:16.000 --> 30:18.000] I don't know where all of that came.
[30:18.000 --> 30:25.000] We had the meeting and that was where like we spent forever trying to figure out what the fuck like the portal looks like.
[30:25.000 --> 30:29.000] And we ended up on the door after a lot of back and forth.
[30:29.000 --> 30:30.000] Yeah.
[30:30.000 --> 30:35.000] But mostly like Ethan and I could not decide what we wanted this portal to be.
[30:36.000 --> 30:43.000] And then yeah, Ethan had some, some sort of idea about like using the lines on the page.
[30:43.000 --> 30:51.000] And then we had just talked it through enough with Bob that when it came time to like, this is before we gave him the script before we'd really written.
[30:51.000 --> 30:57.000] And then when it came time to write the description for that splash, I was like, yeah, I know Bob's on the same page.
[30:57.000 --> 31:04.000] So the splash is just described as like rose, Elliot and Wallace crossed through time and space and dimensions into Rosewood.
[31:04.000 --> 31:05.000] Yeah.
[31:05.000 --> 31:06.000] Yeah.
[31:06.000 --> 31:12.000] I still have the original sketch that I did lying around somewhere up that page.
[31:12.000 --> 31:16.000] And I think that I just do that sketch on the call with you guys.
[31:16.000 --> 31:17.000] Yeah.
[31:17.000 --> 31:18.000] It looked like this.
[31:18.000 --> 31:19.000] Yeah.
[31:20.000 --> 31:24.000] So like you had the idea done on the call and we were like, yeah, all right.
[31:24.000 --> 31:25.000] Cool.
[31:25.000 --> 31:30.000] And then when it came in, it was all of like the colors and the background.
[31:30.000 --> 31:35.000] Like none of that had really been discussed at all and like a shape, the distortion.
[31:35.000 --> 31:38.000] The real like flow of it was still vague.
[31:38.000 --> 31:42.000] And then, and when the page came in was like, Oh, fuck an A.
[31:42.000 --> 31:43.000] All right.
[31:43.000 --> 31:52.000] It became like, you know, drawing a bunch of like, you know, almost like going through the door itself was like a struggle because it was like, you know, there's so many different frames of them.
[31:52.000 --> 31:57.000] Each one, like if you were to animate it, like it is actually sort of a frame by frame of them.
[31:57.000 --> 31:58.000] Right.
[31:58.000 --> 31:59.000] Yeah.
[31:59.000 --> 32:11.000] Energy to the page, you know, because again, in terms of the pacing, we've, we've, we had ended the last issue with, with kind of like the breakout and meeting Wallace and all of that.
[32:11.000 --> 32:27.000] We had the gross cold open and what was it, Paris, like, 1887 and then, you know, we get into when we've had a couple of pages of them driving and them talking and they get to the door or the portal.
[32:27.000 --> 32:40.000] And then you just have, there's just such energy in terms of like the way they're bracing themselves, the way the light changes the way it looks like something's being pushed out at the same time they're trying to go in and it kind of like goes through and wraps around.
[32:40.000 --> 32:49.000] And then, you know, with that mirror image on the left side that they've now come through it, like it just, I mean, yeah, or you could like turn it around, follow as they go.
[32:49.000 --> 32:51.000] It just has such great like energy to it.
[32:51.000 --> 32:55.000] It feels like, all right, we had a moment to breathe, we had a little bit of fun.
[32:55.000 --> 32:59.000] And now we've, now we're, we're getting like going again.
[32:59.000 --> 33:00.000] Yeah.
[33:00.000 --> 33:01.000] I just loved it.
[33:01.000 --> 33:03.000] There is like such a feeling of importance to it.
[33:03.000 --> 33:08.000] I love the way that when they're pushing it open, it's like, yeah, it's like they're like, there's a force acting against them.
[33:08.000 --> 33:10.000] It's like something's blowing back at them.
[33:10.000 --> 33:13.000] That's such a cool thought she pretty good, Bob.
[33:13.000 --> 33:14.000] Thanks.
[33:14.000 --> 33:15.000] I know.
[33:15.000 --> 33:23.000] All right, let's take a quick break.
[33:23.000 --> 33:27.000] What in the sand hill is happening right now?
[33:27.000 --> 33:28.000] What is that?
[33:28.000 --> 33:30.000] You like Bart?
[33:30.000 --> 33:31.000] You like Bart?
[33:31.000 --> 33:33.000] Yeah, what is that?
[33:33.000 --> 33:35.000] Oh, you like band of Bart.
[33:35.000 --> 33:38.000] It's not my fault you moplin'.
[33:38.000 --> 33:39.000] Oh, yeah.
[33:39.000 --> 33:41.000] That makes sense.
[33:41.000 --> 33:43.000] They're dropping some great new series right now.
[33:43.000 --> 33:49.000] There's that one about a heavy metal guitarist in the 1970s with monsters, working glass wizards.
[33:49.000 --> 33:51.000] You know how we love monsters around here.
[33:51.000 --> 33:59.000] And my friend Dakota Brown, he's working on a project, Grandma Tilly's Helltech Mech with Lane Boyd.
[33:59.000 --> 34:00.000] I saw the preview for that.
[34:00.000 --> 34:01.000] That is crazy.
[34:01.000 --> 34:05.000] Jimmy even contributed to their anthology from the static and had Matt Sumo on the podcast
[34:05.000 --> 34:11.000] to talk about his project, the Bardic versus, which makes a lot of sense that the project landed
[34:11.000 --> 34:12.000] there.
[34:12.000 --> 34:15.000] Where can you find them?
[34:15.000 --> 34:16.000] You need to get out more.
[34:16.000 --> 34:21.000] They were in previews or you can visit their website bandabars.com for all the latest.
[34:21.000 --> 34:24.000] Can we turn the music off now?
[34:24.000 --> 34:26.000] Oh, thank you.
[34:26.000 --> 34:29.000] No more surprises, minstrels or anything like that.
[34:29.000 --> 34:32.000] And I'll rent you out to the Renfaire as a children's ride.
[34:32.000 --> 34:35.000] Let's get back to the show.
[34:35.000 --> 34:38.000] And then we get to, we're in the sanctuary in Rosewood.
[34:38.000 --> 34:44.000] We get introduced to a lot of some of the characters that we might have gotten glimpses of from,
[34:44.000 --> 34:47.000] you know, issue one and we kind of find out like what's going on.
[34:47.000 --> 34:52.000] And it's very, it's very fun.
[34:53.000 --> 35:00.000] You know, I really like again how Wallace is kind of like him in a hall and beat her on the
[35:00.000 --> 35:02.000] bush and Rose just cuts right to the point.
[35:02.000 --> 35:05.000] Like it's like, like you guys, like you just said in your writing.
[35:05.000 --> 35:07.000] Like Rose is just like, what's going on?
[35:07.000 --> 35:08.000] Tell me, show me.
[35:08.000 --> 35:09.000] I got to see it.
[35:09.000 --> 35:10.000] Like, let's just get right to it.
[35:10.000 --> 35:14.000] Let's just, let's not have, let's not have this scene where something happens and I accidentally
[35:14.000 --> 35:17.000] discover something and then you have to tell me just.
[35:17.000 --> 35:18.000] Yeah.
[35:18.000 --> 35:21.000] And I really, I really love the way that that sort of comes across.
[35:21.000 --> 35:26.000] Through Wallace as well because he like, we see in this issue that he's, I don't know.
[35:26.000 --> 35:30.000] I don't know what you would call his official role in the sanctuary, but he's like, he's
[35:30.000 --> 35:32.000] like a sheriff or something.
[35:32.000 --> 35:35.000] He's like, he's like, he kind of takes care of everybody.
[35:35.000 --> 35:39.000] Like he talks about getting people medicine and like, and like, he's obviously scouting
[35:39.000 --> 35:41.000] and like, and like looking for refugees.
[35:41.000 --> 35:47.000] And I love that he's just like, he tries to take care of everyone, including Rose to
[35:47.000 --> 35:52.000] where like, when she gets there, he is, he's intentionally being cagey because he's worried
[35:52.000 --> 35:53.000] about her.
[35:53.000 --> 35:56.000] Like he's like holding back because he's trying to ease her in.
[35:56.000 --> 35:58.000] He's like, Hey, look, you're back.
[35:58.000 --> 35:59.000] Hey, it's your friends.
[35:59.000 --> 36:00.000] And like, he doesn't want to drop on her.
[36:00.000 --> 36:05.000] They're like, by the way, there's a, there's a terrifying demon thing at the center of all
[36:05.000 --> 36:07.000] this that's feeding on all of us.
[36:07.000 --> 36:12.000] Like, like it's like, and so like the fact that she is like, tell me what's going on.
[36:12.000 --> 36:16.000] It's almost like, you know, when you're, you're a kid and you say to a parent, like, you
[36:16.000 --> 36:21.000] know, I know you're like keeping this like dirty there, this like dark side of something
[36:21.000 --> 36:22.000] from me.
[36:22.000 --> 36:23.000] Like, what is it?
[36:23.000 --> 36:28.000] And so yeah, it's just, I really like the way that that reflects on their relationship.
[36:28.000 --> 36:30.000] And that came out of us.
[36:30.000 --> 36:34.000] Just pretty much wanting to have our cake and eat it too, because we didn't want to come
[36:34.000 --> 36:36.000] through the door.
[36:36.000 --> 36:39.000] And like, we know that this has the opportunity.
[36:39.000 --> 36:42.000] We bring up Wizard of Oz a lot in the book.
[36:42.000 --> 36:46.000] And so we know this is the moment of Dorothy, like stepping out of the door.
[36:46.000 --> 36:51.000] And initially it was like the ordinary or Alice in Wonderland.
[36:51.000 --> 36:52.000] That's the thing about this book.
[36:52.000 --> 36:57.000] We like using all the like the familiar puzzle pieces, but arranging them in such a way that
[36:57.000 --> 36:59.000] it feels different.
[36:59.000 --> 37:05.000] But we were like, well, she comes through the door and then everything's fucked.
[37:05.000 --> 37:08.000] And it's like, Oh, no, what has happened?
[37:09.000 --> 37:11.000] But then we were like, no, but that kind of sucks.
[37:11.000 --> 37:12.000] That just sucks.
[37:12.000 --> 37:15.000] Because then like the tone of the book is like, we're back down.
[37:15.000 --> 37:19.000] And again, we're talking about like the scene with Wallace breaking in is like, we're trying
[37:19.000 --> 37:20.000] to ramp up.
[37:20.000 --> 37:22.000] We kind of want to go back up and come back down a little bit.
[37:22.000 --> 37:28.000] So we were like, well, let's have the little tucked away town that we can, you know, have
[37:28.000 --> 37:30.000] the world turn to Technicolor again.
[37:30.000 --> 37:36.000] And it seems like magical and there's the question of, is everything in danger?
[37:36.000 --> 37:37.000] How in danger is everything?
[37:37.000 --> 37:42.000] And that lingers for just a second while we kind of catch up for a moment.
[37:42.000 --> 37:44.000] And then we bring the fucking hammer down.
[37:44.000 --> 37:49.000] We're like, yeah, but this is just like a little like pocket and everything else is fucked.
[37:51.000 --> 37:52.000] Yeah.
[37:52.000 --> 37:56.000] I mean, again, I really like the like kind of the rivers of color, how everything is gray.
[37:56.000 --> 37:59.000] You get a real sense of despair and desolation in this world.
[37:59.000 --> 38:05.000] And then, you know, but again, the way the issue ends, like I would not have predicted because
[38:05.000 --> 38:11.000] I thought, you know, similar to something like Wizard of Oz or, you know, Alice in Wonderland,
[38:11.000 --> 38:13.000] we're now through the looking glass, right?
[38:13.000 --> 38:17.000] We're now on the other side and we're going to find out about this world and we're going
[38:17.000 --> 38:23.000] to set up the problem and maybe we'll have something on like the last page that is going to tell
[38:23.000 --> 38:26.000] us what to expect for issue four.
[38:26.000 --> 38:34.000] And as I'm finding with, with, you maniacs, it's like three pages before the end.
[38:34.000 --> 38:41.000] We then just have this character appear, grab Elliot, and we're once again, like three pages
[38:41.000 --> 38:45.000] of off to the races, like absolute terror to the landscape.
[38:45.000 --> 38:50.000] And again, it's just not how anything I would have, you know, expected.
[38:50.000 --> 38:56.000] Like I thought it would be more of like a gradual and you're just like, give the reader a moment
[38:56.000 --> 38:57.000] or two to breathe.
[38:57.000 --> 39:03.000] We've had a two or three nice pages in the, in the.
[39:03.000 --> 39:05.000] We don't have time, Jimmy.
[39:05.000 --> 39:07.000] Yeah, I got it.
[39:07.000 --> 39:10.000] Those are three nice pages and spikies.
[39:10.000 --> 39:11.000] Yeah.
[39:11.000 --> 39:13.000] Oh, we find out that stuff's bad.
[39:13.000 --> 39:17.000] And then it's just like something has grabbed Elliot and is just like dragging him.
[39:17.000 --> 39:19.000] If you're getting comfortable, you're getting bored.
[39:19.000 --> 39:20.000] Elliot is screwed.
[39:20.000 --> 39:23.000] He's tearing his own face off or something.
[39:23.000 --> 39:27.000] I mean, look, if there's, if there's one compliment I can give to it.
[39:27.000 --> 39:30.000] Look, I'm not, I'm not the world's biggest reader, right?
[39:30.000 --> 39:32.000] 100% admit to that up front.
[39:32.000 --> 39:34.000] I play a lot of video games like a degenerate.
[39:34.000 --> 39:35.000] Okay.
[39:35.000 --> 39:42.000] One thing, the best compliment that I can give to a writer is that they do not waste your time.
[39:42.000 --> 39:43.000] Right.
[39:43.000 --> 39:46.000] My favorite books are ones that just just fucking go.
[39:46.000 --> 39:47.000] Right.
[39:47.000 --> 39:52.000] And again, Ethan and Griffin meet my criteria of being really great writers.
[39:52.000 --> 39:55.000] They're not wasting anybody's time in this book.
[39:55.000 --> 39:59.000] This book just goes and it, and it, if it's, if it's, if it takes a little thing,
[39:59.000 --> 40:04.000] it's because it's probably building tension for the next time they slap you in the basement.
[40:04.000 --> 40:05.000] Yeah.
[40:05.000 --> 40:13.000] And then, and then Bob in terms of your work with those last couple of pages, like again,
[40:13.000 --> 40:16.000] the, the movement on that page is fantastic.
[40:16.000 --> 40:17.000] Yeah.
[40:17.000 --> 40:23.000] It's, it helps so much with the pace, you know, in terms of Elliot being like dragged across those woods.
[40:23.000 --> 40:28.000] Like it looks like he is, he is moving in terms of like your line work.
[40:28.000 --> 40:31.000] It was like trucking after.
[40:31.000 --> 40:32.000] Yeah.
[40:32.000 --> 40:39.000] It just, it, and I, I hate things that put their hands in like a character's mouth and like,
[40:39.000 --> 40:41.000] it was one of those.
[40:41.000 --> 40:42.000] And I was like, I don't know.
[40:42.000 --> 40:45.000] I'm talking about Bob.
[40:45.000 --> 40:46.000] That's gross.
[40:46.000 --> 40:47.000] That thing had his fingers.
[40:47.000 --> 40:48.000] Yeah.
[40:48.000 --> 40:49.000] Right.
[40:49.000 --> 40:50.000] His mouth.
[40:50.000 --> 40:56.000] I've done that on a couple of occasions where like some somebody was supposed to grab somebody's face and I'd have him stick a thumb in their mouth because I'm like,
[40:56.000 --> 40:57.000] that's so gross.
[40:57.000 --> 41:00.000] I get so grossed out anytime you get that out of there.
[41:00.000 --> 41:01.000] I'll bite that thing off.
[41:01.000 --> 41:02.000] Right.
[41:02.000 --> 41:03.000] I was like, well, that'll be super gross.
[41:03.000 --> 41:05.000] And these are also nasty hands.
[41:05.000 --> 41:06.000] It can't have the ground.
[41:06.000 --> 41:16.000] So you guys would have been way more bummed out because we were originally going to have the entity crawl inside of Elliot's mouth like completely shove itself inside of his mouth.
[41:16.000 --> 41:18.000] I like put him on like a suit.
[41:19.000 --> 41:20.000] Now.
[41:20.000 --> 41:21.000] Gross.
[41:21.000 --> 41:22.000] Gross.
[41:22.000 --> 41:23.000] Now.
[41:23.000 --> 41:25.000] We mostly didn't have the space for it.
[41:25.000 --> 41:26.000] Yeah.
[41:26.000 --> 41:27.000] So that changed.
[41:27.000 --> 41:34.000] There's certain movies and TV shows that like I've watched like a couple once that I don't think I could ever watch again.
[41:34.000 --> 41:44.000] What was like the alien movie Prometheus where like, if you ever saw Prometheus, there's a scene where one of the things they find shoots like,
[41:45.000 --> 41:49.000] I don't know, breaks the guy's arm, then gets into his helmet and like goes into his.
[41:49.000 --> 41:50.000] There's some gross.
[41:50.000 --> 41:51.000] Thank you.
[41:51.000 --> 41:52.000] I'm going to wrap my overpaulter down here.
[41:52.000 --> 41:53.000] Throw it in the way.
[41:53.000 --> 41:54.000] My eggs on your chest.
[41:54.000 --> 41:55.000] Anything.
[41:55.000 --> 41:57.000] It gets more eyes with me.
[41:57.000 --> 41:58.000] Anything that fucks with the eyes.
[41:58.000 --> 41:59.000] Yeah.
[41:59.000 --> 42:01.000] I have a eyeball thing to real bad.
[42:01.000 --> 42:02.000] Oh, great.
[42:02.000 --> 42:05.000] Can't wait to read issues five to eight.
[42:05.000 --> 42:09.000] I don't even remember.
[42:10.000 --> 42:13.000] We do a small eyeball thing.
[42:13.000 --> 42:14.000] I think.
[42:14.000 --> 42:15.000] Oh, we do.
[42:15.000 --> 42:16.000] Yeah, we do.
[42:16.000 --> 42:17.000] Maybe one doing maybe.
[42:17.000 --> 42:18.000] It's not like the word.
[42:18.000 --> 42:20.000] No, it's a mouth.
[42:20.000 --> 42:21.000] It's another mouth.
[42:21.000 --> 42:22.000] Yeah.
[42:22.000 --> 42:23.000] Another.
[42:23.000 --> 42:24.000] You're ready, Jimmy.
[42:24.000 --> 42:25.000] Okay.
[42:25.000 --> 42:28.000] I think my quality mouth content.
[42:28.000 --> 42:29.000] I'm really.
[42:29.000 --> 42:36.000] I'm really worried because Byron edits these episodes that he's going to do something with get ready, Jimmy, another mouth thing.
[42:37.000 --> 42:38.000] No, no.
[42:38.000 --> 42:45.000] So I'm going to have to be careful with this audio.
[42:45.000 --> 42:47.000] So, but then the issue for.
[42:47.000 --> 42:49.000] We already talked about it a little bit.
[42:49.000 --> 42:50.000] Turns the open.
[42:50.000 --> 42:51.000] We get a little bit more background.
[42:51.000 --> 42:52.000] Rose.
[42:52.000 --> 42:54.000] And again, not anything at all.
[42:54.000 --> 42:56.000] What I was expecting.
[42:56.000 --> 42:57.000] Right.
[42:57.000 --> 42:58.000] You know, I figured.
[42:58.000 --> 42:59.000] So we have the great, terrible evil.
[42:59.000 --> 43:00.000] It's an Elliott.
[43:00.000 --> 43:05.000] Now Rose has to face off with with whatever this evil is and figure out like what?
[43:05.000 --> 43:08.000] Happened to her mother and like, was it her?
[43:08.000 --> 43:10.000] Was it some part of her?
[43:10.000 --> 43:12.000] Is this entity like real?
[43:12.000 --> 43:14.000] Like, is this world, you know?
[43:14.000 --> 43:16.000] Like, is it encroaching on ours?
[43:16.000 --> 43:18.000] Is it something she created?
[43:18.000 --> 43:21.000] Whatever the situation, like, you know, might be.
[43:21.000 --> 43:25.000] And then we have a cold, like the opening of it is like talking about her.
[43:25.000 --> 43:26.000] Childhood.
[43:26.000 --> 43:28.000] And we're now looking at.
[43:28.000 --> 43:33.000] Her relationship with her mother in a totally different way through a lot of this episode.
[43:33.000 --> 43:34.000] Yeah.
[43:34.000 --> 43:37.000] A lot of this issue, which I was.
[43:37.000 --> 43:43.000] Like shocked by like in a good way because we now had three issues of building up a certain
[43:43.000 --> 43:47.000] thing and you sit through the ground rules.
[43:47.000 --> 43:50.000] So well in issue one where.
[43:50.000 --> 43:53.000] The things we see about mom.
[43:53.000 --> 43:56.000] You know, she she works at Jimmy's family dining.
[43:56.000 --> 43:57.000] That's mine.
[43:57.000 --> 43:58.000] It's my restaurant.
[43:59.000 --> 44:02.000] She she works there.
[44:02.000 --> 44:04.000] She has issues with bills.
[44:04.000 --> 44:08.000] There's maybe some other stuff going on because Rose over here's a phone call.
[44:08.000 --> 44:11.000] And she just seems like she's, you know.
[44:11.000 --> 44:17.000] She encourages Rose seems like she's like a good mom just struggling to make ends meet.
[44:17.000 --> 44:18.000] There's some stuff going on.
[44:18.000 --> 44:19.000] And now.
[44:19.000 --> 44:22.000] Again, the rug is pulled out from under you.
[44:23.000 --> 44:28.000] You're looking at all of that through a whole new lens in issue four as the great terrible
[44:28.000 --> 44:31.000] evil is kind of like.
[44:31.000 --> 44:36.000] Through Elliot confronting Rose and having this conversation with Rose.
[44:36.000 --> 44:41.000] And again, then I as I was reading and I was realizing because I had all the issues next to
[44:41.000 --> 44:45.000] me because I read everything again before this just like an hour or two ago.
[44:46.000 --> 44:51.000] And I realized that well, everything in that first issue was like intentional.
[44:51.000 --> 44:56.000] There wasn't just like one panel with, oh, we need to get from point A to point B.
[44:56.000 --> 45:01.000] So we were going to have a panel that just shows this just for like movement sake.
[45:01.000 --> 45:06.000] Like everything is so, so intentional in that first issue.
[45:06.000 --> 45:11.000] And it all all that fruit comes to bear in issue four.
[45:12.000 --> 45:19.000] And is is heavy all while you'll there are these like incredible like action scenes and fight
[45:19.000 --> 45:28.000] scenes and these undead, you know, creepy stuffed animal monster thingies the word.
[45:28.000 --> 45:30.000] I wore a general slithers dude.
[45:30.000 --> 45:38.000] I was a brad army general general slithers lizard rat army undead coming to attack after they
[45:38.000 --> 45:39.000] were in the peace treaty.
[45:39.000 --> 45:40.000] I know.
[45:40.000 --> 45:41.000] I know.
[45:41.000 --> 45:42.000] That's a fairly.
[45:42.000 --> 45:44.000] Rosewood cannot be trusted.
[45:44.000 --> 45:46.000] They were ready to put down their weapon.
[45:46.000 --> 45:47.000] Yeah.
[45:47.000 --> 45:51.000] That was another darling that got killed originally.
[45:51.000 --> 45:54.000] General slithers was going to be in the bakery.
[45:54.000 --> 45:58.000] The blacksmith in bakery and it was going to be like a little like, Oh, look, he made it.
[45:58.000 --> 45:59.000] He's part of the town now.
[45:59.000 --> 46:00.000] That's so cute.
[46:00.000 --> 46:02.000] But we didn't have the space for it.
[46:02.000 --> 46:03.000] So now he's an evil and.
[46:03.000 --> 46:04.000] Yeah, that's a creature.
[46:04.000 --> 46:05.000] Now he's an evil undead.
[46:06.000 --> 46:07.000] Yeah.
[46:07.000 --> 46:08.000] You know, but again, like.
[46:08.000 --> 46:09.000] Sorry.
[46:09.000 --> 46:13.000] I appreciate you saying that everything was super intentional issue on it.
[46:13.000 --> 46:15.000] Like we've heard we've heard.
[46:15.000 --> 46:22.000] We've heard a comment about like somebody saying that like they felt like the thing with Rose's
[46:22.000 --> 46:28.000] mother was like a retcon or something in that issue and like that with the way we present Andrea
[46:28.000 --> 46:32.000] in issue one, like you're saying is super intentional like we really hold back.
[46:32.000 --> 46:35.000] You see her in a very specific circumstance for issue one.
[46:35.000 --> 46:39.000] And then there is a scene where we sort of hint that there is more going on with her.
[46:39.000 --> 46:44.000] And it is it's because we had, you know, we had already written so far ahead for so long.
[46:44.000 --> 46:48.000] But it's like, we knew what we were going to play out with her and it's very intentional
[46:48.000 --> 46:52.000] that we're showing you different sides of her at different times.
[46:52.000 --> 46:55.000] And it's because she's, you know, she's not just one thing.
[46:55.000 --> 46:57.000] And so, yeah, I really appreciate you saying that because it is.
[46:57.000 --> 47:00.000] Yeah, it is very specifically planned out.
[47:01.000 --> 47:05.000] We wanted you to know different things about her, a different story.
[47:05.000 --> 47:10.000] And who knows, maybe you'll find out more about her in issue five.
[47:10.000 --> 47:15.000] Oh, one of the things it made me think of was that when I was talking about this with a coworker
[47:15.000 --> 47:22.000] recently about something happened this past weekend that then it made me think of a story from when I was in the third grade.
[47:22.000 --> 47:23.000] Yeah.
[47:23.000 --> 47:27.000] And about I was like a nerdy, smart kid and forgot something.
[47:27.000 --> 47:36.000] And I felt like the other kids in the class were really picking on me and it made me even like berate myself more about like, how can I be so stupid to forget something?
[47:36.000 --> 47:37.000] I'm supposed to be smart.
[47:37.000 --> 47:47.000] And I was telling this story to a colleague and I said, I, by the time machine, I'd love to go back to see if the way I remember it is anything at all what like what actually happened.
[47:47.000 --> 47:48.000] Right.
[47:48.000 --> 47:55.000] And this, the issue for kind of really gave me that sense of like a kid's perspective of things.
[47:55.000 --> 48:02.000] And then looking back and kind of like seeing something through a memory or a moment through a different lens.
[48:02.000 --> 48:03.000] Yeah.
[48:03.000 --> 48:05.000] And that's, that's, I didn't think feel like anything was retconned.
[48:05.000 --> 48:10.000] I feel like, Oh, here's, here's somebody who is has a little bit of perspective.
[48:10.000 --> 48:11.000] Right.
[48:11.000 --> 48:24.000] Whether or not it's through the great, terrible evil or just the life experience, like is now kind of struggling to deal with these, you know, kind of seeing the, maybe the reality of the situation or just another side of it.
[48:24.000 --> 48:30.000] And, and it's, it's all done through like, like I said, these incredible action scenes.
[48:30.000 --> 48:31.000] I love the scale of this.
[48:31.000 --> 48:41.000] Like there's one, I think three panel page where you kind of really see the scope of where the great and terrible evil is where Rose, I think, is just like in the bottom left corner.
[48:41.000 --> 48:45.000] Like those types of things I really loved.
[48:46.000 --> 49:07.000] The narrow panels that were like two pages of maybe like five panels, each where the Elliot is the evil is kind of like repeating the same line. Like, all that just stuff felt like it just, it really amped up the tension of the moment until it was off to the races and fighting and Rose like scrambling again.
[49:07.000 --> 49:14.000] Some of Bob's craziest coloring in the issue for sure. Like some of this stuff. Yeah, really, really wild.
[49:14.000 --> 49:24.000] And yeah, it's like an issue sort of about like your fantasy is getting ripped away. So like, you know, she's like, just as, just as it felt like she was kind of returning home to some nice stuff.
[49:24.000 --> 49:34.000] It turns sour and she's also forced to face. Yeah, like you're saying that maybe things weren't quite as she framed them in the real world either.
[49:34.000 --> 49:38.000] It's, it's sad. It's a sad book at times.
[49:39.000 --> 49:51.000] I think it's, you know, it's all, it's all just sort of like a coming of age story as, as like all these little touchstones that we keep talking about kind of are.
[49:51.000 --> 49:57.000] And especially like when we're pulling little bits and pieces out of the hero's journey and everything like that.
[49:57.000 --> 50:05.000] Like at the end of the day, that's what those those sorts of things are is about becoming an adult.
[50:05.000 --> 50:16.000] And with that comes these realizations of, yeah, you know, you kind of have like rose colored rose colored glasses on.
[50:16.000 --> 50:28.000] When you're when you're a kid or when you're looking back at stuff and sometimes it takes a great and terrible evil to sort of let you reckon with those sorts of things.
[50:29.000 --> 50:41.000] I really like to particularly the dialogue as well in issue four, especially like a lot of the evil dialogue like like through Elliot one part in particular where they.
[50:41.000 --> 50:51.000] They're saying like, oh, Elliot's in here, you know, he's screaming, but he's like more worried about you and.
[50:52.000 --> 51:15.000] You know, think things along those lines like a lot of those those moments in the dialogue I like really enjoyed and it helps that like Bob, you know, tremendous job in terms of like the look of Elliot as like the evil and yeah like the action scenes are dynamic they move.
[51:15.000 --> 51:23.000] It's really great. And then once again, I thought we'd be here for a while. And then next thing you know we're.
[51:23.000 --> 51:28.000] It's issue for Jimmy, you should know by now.
[51:28.000 --> 51:32.000] And let me let me just tell you.
[51:32.000 --> 51:35.000] The second act five through eight.
[51:35.000 --> 51:37.000] They're no different.
[51:38.000 --> 51:46.000] They may be even more extreme. I was going to say five through eight. I think are more run fully and surprising than the first.
[51:46.000 --> 51:51.000] Or yeah, it's only going to get more more shocking.
[51:51.000 --> 51:52.000] Oh, yeah. Yeah.
[51:52.000 --> 51:53.000] Yeah.
[51:53.000 --> 51:56.000] I think by now you got your seat belt on I would hope.
[51:56.000 --> 51:57.000] Yeah, absolutely.
[51:57.000 --> 51:58.000] Yeah.
[51:58.000 --> 52:06.000] Because no sooner are we back in the real world and then, you know, under the fluorescent lights of mammoth video Bob draws a man getting ripped in half again.
[52:07.000 --> 52:09.000] Bob just can't help him.
[52:09.000 --> 52:14.000] I can't. Yeah, I'm like, give me an opportunity to pull a man and.
[52:14.000 --> 52:20.000] Dude, the way the shadow looks when the dude gets ripped and oh my God, I can't I've never gotten over.
[52:20.000 --> 52:25.000] It like creates that sense that they're like it's hard to do this a lot.
[52:25.000 --> 52:27.000] That's like there's like 10 to the living.
[52:27.000 --> 52:28.000] Yeah.
[52:28.000 --> 52:29.000] Yeah.
[52:29.000 --> 52:30.000] There's a lot to go through to do.
[52:30.000 --> 52:31.000] It's really gross.
[52:31.000 --> 52:32.000] It's really gross.
[52:33.000 --> 52:36.000] The way the carnage is executed in that scene.
[52:36.000 --> 52:42.000] I love so like I love the blurriness of Rose coming to and seeing what's happened.
[52:42.000 --> 52:46.000] It's just like the most mortifying shit.
[52:46.000 --> 52:47.000] It's so good.
[52:47.000 --> 52:48.000] I do.
[52:48.000 --> 52:55.000] There was a great point here too though where this this was happening and we were like, oh my fucking God.
[52:55.000 --> 52:58.000] It's it's like so gross.
[52:58.000 --> 53:01.000] Could we add more blood?
[53:02.000 --> 53:03.000] Yeah.
[53:03.000 --> 53:05.000] Put on the walls and stuff.
[53:05.000 --> 53:07.000] I was like, yeah.
[53:07.000 --> 53:15.000] And then and and then Bob completely surpassed what I was envisioning as more blood and suddenly
[53:15.000 --> 53:21.000] there was just like, yeah, full on like, oddly invincible levels of blood.
[53:21.000 --> 53:22.000] Yeah.
[53:22.000 --> 53:23.000] We don't see what happened.
[53:23.000 --> 53:27.000] It was passed out, but it seems to have involved like a wood chipper.
[53:28.000 --> 53:34.000] The name of video massacre will be talked about for decades to come.
[53:34.000 --> 53:36.000] It seems true.
[53:36.000 --> 53:41.000] I mean, I, I just really, I really love this story.
[53:41.000 --> 53:43.000] I really, I really love the comic book.
[53:43.000 --> 53:44.000] Thanks.
[53:44.000 --> 53:45.000] Appreciate it.
[53:45.000 --> 53:51.000] I think you guys have the whole team has a lot of stuff going for you in terms of the story itself,
[53:51.000 --> 53:53.000] the writing and dialogue.
[53:54.000 --> 53:59.000] I mean, Bob's artwork at Hills, like lettering and design.
[53:59.000 --> 54:03.000] It's not just all, it's not just all clever.
[54:03.000 --> 54:05.000] It's not just all rug pulling, right?
[54:05.000 --> 54:06.000] That's fun.
[54:06.000 --> 54:09.000] And it keeps the pace going and it's unexpected.
[54:09.000 --> 54:14.000] And that's, that's nice that it's like something different and you're taking like a trope that
[54:14.000 --> 54:21.000] and you're kind of doing something different or you're just shoving it aside and taking it
[54:21.000 --> 54:22.000] head on, as I said earlier.
[54:23.000 --> 54:27.000] So it's not all clever and it's not all, you know, action.
[54:27.000 --> 54:29.000] Although there's plenty of that as well.
[54:29.000 --> 54:34.000] And it's not just all like, you know, here's a story about a younger owner mother and their
[54:34.000 --> 54:35.000] relationship.
[54:35.000 --> 54:36.000] And it was difficult.
[54:36.000 --> 54:38.000] Like it's not all like Lady Bird or something like that.
[54:38.000 --> 54:44.000] You know, it's, it's, you have all these pieces are have really come together.
[54:44.000 --> 54:46.000] It feels like you guys have been right.
[54:46.000 --> 54:51.000] Like this does not feel like a, like this is one of our first, you know, later on comics.
[54:51.000 --> 54:54.000] Like it feels like you guys have been working on this for a long time.
[54:54.000 --> 54:58.400] Like this is the type of comic book that like, you know, somebody's done a couple of things
[54:58.400 --> 55:03.000] and then they finally hit and like all their, all the elements are really working together.
[55:03.000 --> 55:05.000] Like it feels like something that's been worked on for years.
[55:05.000 --> 55:10.000] Maybe, maybe in your heads, you know, I haven't been working on it for three years.
[55:10.000 --> 55:11.000] Yeah.
[55:11.000 --> 55:17.000] But also I really appreciate it and I really hope it doesn't take three years for the next
[55:17.000 --> 55:18.000] one.
[55:18.000 --> 55:20.000] Yeah, that would be preferable.
[55:20.000 --> 55:21.000] Yeah.
[55:21.000 --> 55:24.000] That said though, the three years was, was perfect.
[55:24.000 --> 55:25.000] Absolutely.
[55:25.000 --> 55:29.000] Was all the time that we, yeah, needed to, to hone this.
[55:29.000 --> 55:31.000] We learned, we learned how to do it.
[55:31.000 --> 55:32.000] Acceptably.
[55:32.000 --> 55:34.000] But right, like right at the end.
[55:34.000 --> 55:35.000] Well, yeah.
[55:35.000 --> 55:39.000] Grabbed our Indiana Jones hat right at the last second.
[55:39.000 --> 55:40.000] It's, it's true.
[55:40.000 --> 55:42.000] I mean, we, we wrote the whole thing.
[55:42.000 --> 55:46.000] We did two full passes on all eight issues.
[55:46.000 --> 55:47.000] Yeah.
[55:48.000 --> 55:53.000] So we wrote the whole series twice and then, and then Bob came on board and then we were
[55:53.000 --> 55:54.000] like, okay, now it's time.
[55:54.000 --> 55:56.000] Now we have to really write.
[55:56.000 --> 55:57.000] Yeah.
[55:57.000 --> 56:06.000] And so yeah, and, and really the second half of it was still a big question mark.
[56:06.000 --> 56:13.000] Didn't have a lot of shape until like April or like, until we had to start writing it
[56:13.000 --> 56:14.000] pretty much.
[56:14.000 --> 56:16.000] And so like last spring.
[56:16.000 --> 56:20.000] So yeah, it's just continued to evolve.
[56:20.000 --> 56:25.000] We've been so grateful to have so much time, even though we've gone crazy at many points
[56:25.000 --> 56:28.000] during that three years, because it was like.
[56:28.000 --> 56:33.000] Or so long, just lived in Ethan and I's head and, and then Bob came and it lived in our
[56:33.000 --> 56:36.000] Dropbox, but only our Dropbox.
[56:36.000 --> 56:38.000] No one could see it yet.
[56:38.000 --> 56:43.000] And there was three whole issues done finally, but no one could see it yet.
[56:43.000 --> 56:45.000] But like another fucking six months.
[56:45.000 --> 56:46.000] Right.
[56:46.000 --> 56:50.000] So it's been very, very gratifying and thank you so much, Jimmy.
[56:50.000 --> 56:51.000] Yeah.
[56:51.000 --> 56:52.000] For all your kind words.
[56:52.000 --> 56:53.000] Really appreciate it.
[56:53.000 --> 56:54.000] No, I love it.
[56:54.000 --> 57:00.000] I think if you list, I think one of the comic book yet, either we have like, we did the second
[57:00.000 --> 57:02.000] like ice awards, which I think.
[57:02.000 --> 57:03.000] Yes.
[57:03.000 --> 57:04.000] Thank you.
[57:04.000 --> 57:05.000] Yeah.
[57:05.000 --> 57:08.000] I think we mentioned it in that we mentioned it a little bit.
[57:08.000 --> 57:09.000] You're good.
[57:10.000 --> 57:11.000] Yeah.
[57:11.000 --> 57:13.000] I think it's great.
[57:13.000 --> 57:15.000] And I really appreciate you.
[57:15.000 --> 57:19.000] You guys coming back on to kind of really just indulge me and talk about it.
[57:19.000 --> 57:20.000] I don't get to do that.
[57:20.000 --> 57:22.000] A lot of times it's like I got an answer.
[57:22.000 --> 57:23.000] And I just want to say I like it.
[57:23.000 --> 57:24.000] This is what I like.
[57:24.000 --> 57:28.000] Now I'm thinking we got another episode on the books.
[57:28.000 --> 57:29.000] Come on.
[57:29.000 --> 57:31.000] Got to talk about.
[57:31.000 --> 57:34.000] Got to talk about the back half because guess what?
[57:34.000 --> 57:36.000] That's where all the craziest shit.
[57:37.000 --> 57:40.000] Yeah, I really love it.
[57:40.000 --> 57:43.000] And I wanted to, I know it's running a little late.
[57:43.000 --> 57:48.000] If anybody just one minute left, I wanted to ask, what have you thought about?
[57:48.000 --> 57:51.000] Because it seems like you've at least heard some things about it.
[57:51.000 --> 57:54.000] Like Ethan's mentioned somebody like said this or that.
[57:54.000 --> 57:56.000] Like, have you paid attention to any reviews?
[57:56.000 --> 57:58.000] Like what have you felt about the response of it?
[57:58.000 --> 57:59.000] Yeah.
[57:59.000 --> 58:01.000] I'm happy with how it's being received.
[58:01.000 --> 58:02.000] Yes.
[58:02.000 --> 58:03.000] Don't get me wrong.
[58:04.000 --> 58:06.000] I heard from the rec kind of thing.
[58:06.000 --> 58:09.000] Just because that was such an interesting specific thing that I heard called out.
[58:09.000 --> 58:11.000] That I wanted to mention.
[58:11.000 --> 58:16.000] But no, like generally like, like we've never seen anybody outright be like the sucks.
[58:16.000 --> 58:17.000] Like, which is crazy.
[58:17.000 --> 58:21.000] Like we have had so many people be so kind about it.
[58:21.000 --> 58:25.000] People like, yeah, being so generous and like, and so,
[58:25.000 --> 58:28.000] like, like the praise has been so specific.
[58:28.000 --> 58:32.000] And that's the thing that always blows my mind is people sharing their specific
[58:32.000 --> 58:37.000] experiences or specifically like you just did like calling out like, this is like your first
[58:37.000 --> 58:39.000] thing you've written that's fucking crazy.
[58:39.000 --> 58:42.000] Like stuff like that where it's like people actually taking the time to give a shit about
[58:42.000 --> 58:47.000] what the process must have been like and what the book means to them and stuff like that.
[58:47.000 --> 58:52.000] And like, yeah, doing conventions and doing signings and having people be so, so, so sweet
[58:52.000 --> 58:54.000] about it has, has been crazy.
[58:54.000 --> 58:55.000] Yeah.
[58:55.000 --> 58:56.000] It's been a dream experience.
[58:56.000 --> 58:57.000] Awesome.
[58:57.000 --> 58:58.000] Well, that's good to hear.
[58:59.000 --> 59:03.000] I haven't, I haven't seen anyone saying anything negative about it.
[59:03.000 --> 59:05.000] Um, you know, which was a little reason.
[59:05.000 --> 59:07.000] It's like, it's annoying that this is.
[59:10.000 --> 59:14.000] The way things always go is like there will be like a thing that comes out and everyone,
[59:14.000 --> 59:17.000] and everyone like collectively is like, Oh, we love this.
[59:17.000 --> 59:20.000] And then there's like the counterculture movement that happens.
[59:20.000 --> 59:27.000] So the response has been so overtly positive, which has been so great, but it does sort of like,
[59:27.000 --> 59:31.000] make me think there might be like a little like second wave of this that comes or suddenly
[59:31.000 --> 59:32.000] people are like, you know what?
[59:32.000 --> 59:33.000] I fucking hate it.
[59:33.000 --> 59:34.000] Yeah.
[59:34.000 --> 59:38.000] Could we, could we rerecord this where Jimmy, you're like trash in the book to try to offshore.
[59:38.000 --> 59:39.000] Yeah.
[59:39.000 --> 59:40.000] Yeah.
[59:40.000 --> 59:42.000] That's not rubber band doesn't snap back the other way.
[59:42.000 --> 59:43.000] We could do that.
[59:43.000 --> 59:44.000] We could do that.
[59:44.000 --> 59:45.000] We go back.
[59:45.000 --> 59:46.000] Yeah.
[59:46.000 --> 59:47.000] Obviously.
[59:47.000 --> 59:49.000] I, so, uh, yeah.
[59:49.000 --> 59:53.000] So when you're listening to this, I think this is that episode is going to come out like early February,
[59:53.000 --> 59:55.000] like maybe Tuesday, February six, I think.
[59:55.000 --> 59:57.000] So it should be before issue six.
[59:57.000 --> 01:00:00.000] Um, but for listeners, hopefully you've already read one through four.
[01:00:00] Otherwise you pretty much know what's going to happen and how great it is.
[01:00:03] But you know, if you don't care about spoilers and you've gotten this for it,
[01:00:06] definitely get this you one through four.
[01:00:07] You got to see Bob Zart.
[01:00:08] You got to stop.
[01:00:09] Yeah.
[01:00:10] You know what I'm out of.
[01:00:11] I mean, it is.
[01:00:12] Incredible.
[01:00:13] You may have heard that I do got ripped in half, but have you seen it?
[01:00:16] Yeah, you need to see it.
[01:00:18] I have.
[01:00:19] If you haven't read issue five new story arc.
[01:00:22] After centuries of horror, can the girl who wouldn't burn change her violent ways or will the cycle of blood and death begin anew?
[01:00:29] And how exactly are she in the great and terrible evil connected to Rose?
[01:00:32] Finally, all is revealed in this turning point issue.
[01:00:35] You know what?
[01:00:36] I realized after I did that, I should rerecord it and do it like the, like the end of the Batman and Robin episodes.
[01:00:42] Yeah.
[01:00:43] And how exactly are she in the great and evil connected to Rose?
[01:00:48] And how exactly are she in the great and evil connected to Rose?
[01:00:52] Finally, all is revealed in this turning point issue.
[01:00:55] Same gruesome time.
[01:00:57] Same gruesome channel.
[01:00:59] I can mend brother.
[01:01:01] Hell yeah.
[01:01:02] Ethan Bob Griffin.
[01:01:04] Thank you so much for coming on the podcast again listeners.
[01:01:07] Please, please.
[01:01:08] Hopefully you've already killed your darlings.
[01:01:10] Went through four.
[01:01:11] Make sure you get issues five, six, seven and eight.
[01:01:13] And they're probably all going to come back and talk about it again.
[01:01:16] Oh, my God.
[01:01:17] Round three.
[01:01:18] Let's go.
[01:01:19] We got it.
[01:01:20] Look, we got to have the trilogy now, I think.
[01:01:22] All right.
[01:01:23] All right.
[01:01:24] Thank you very much for listening and a challenge to my brother Bobby, the cryptic creator corner.
[01:01:28] Number one most dedicated listener Bobby listens to all my episodes.
[01:01:31] I'm going to have to make sure that I give him.
[01:01:33] Kill your darlings one through four.
[01:01:34] Otherwise he hates spoilers.
[01:01:35] So if he acts.
[01:01:36] Oh, no.
[01:01:37] He's going to be pissed.
[01:01:38] All right.
[01:01:39] Thank you guys very much for your time.
[01:01:42] And yeah, hopefully I'll see you again.
[01:01:44] Thank you, Jimmy.
[01:01:46] Thanks so much.
[01:01:47] This is Byron O'Neill, one of your hosts of the cryptic creator corner brought to you
[01:01:51] by comic book getting.
[01:01:52] We hope you've enjoyed this episode of our podcast.
[01:01:56] Please rate, review, subscribe, all that good stuff.
[01:02:00] It lets us know how we're doing and more importantly, how we can improve.
[01:02:04] Thanks for listening.
[01:02:06] If you enjoyed this episode of the cryptid creator corner, maybe you would enjoy our sister podcast
[01:02:12] into the comics, Kate, listen and subscribe wherever you get your podcasts.
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