2-19-24

The conversation revolves around the survival and relevance of Image Comics in the comic book industry. It is acknowledged that Image has managed to stay afloat while many other companies have come and gone. Image is seen as a different kind of company, empowering creators to produce unique and independent content. However, there are concerns about the future of the genre itself, as the world has changed and the comics being produced are more focused on superpowered beings living out soap operas rather than crime-fighting. It is suggested that perhaps it's time to let the genre die and explore other genres like pirates. The conversation concludes with a discussion about the declining readership and the need to attract new fans to the industry. The idea of bringing back top creators to work on mainstream books is questioned, as it may only appeal to older fans. Overall, there are mixed opinions about the future of comic books and the need for change in the industry. Well, I'm glad you didn't go 1, 2, 3, 4, 10, 8, I just keep going like, hey, it's 1, 2, 3, all right? Recording in progress. Oh, there we go. You got that too. Cool. All right. So you were talking about how image is different. Look, again, I'm not, I'm not, I like image. I like what they did in the 90s, but more, more than anything, I respect them because it's 2024 and they're still here. Yeah. I was talking about, you know, 32 years, I think they started in 92, 32 years, they're still here. They could have went the way of Charlton, they could have went the way of AGD, I think the name of it was. There's a lot of companies, Malibu, a lot of companies that came and went and, you know, I'm not, okay, forget Malibu and those, let's say they lasted two years, but there's a lot of companies that lasted 10 and where are they? So it's kind of hard, it's hard to make it and, and, and you suggested that maybe, you know, I mean, DC was ready to go. They were both ready to go, let's say in the 70s and Star Wars came along and saved Marvel and they were both able to survive because of the attention that Star Wars brought the comics and yet, and again, all the other companies, they're gone. The only one that I give credit to maybe is Dark Horse and Image for still being here out of the 90s. And I would say, like, first of all, I agree with you that the fact that Image survived is incredible. Like, I never, when I got back into comics in the 2000s, I was sure Image was gone. I could not believe they're still going and they're a totally different company now. Like, they're doing incredible things, but I would also say for better and for worse, they almost shouldn't be compared to Marvel and DC because Marvel and DC are about a constant stable of characters and churning them out and those characters belong to Marvel and DC. Image is about empowering creators to create something unique and independent and different and when that run ends, that run ends. That's an interesting point because you can argue Image could go away just because Todd McFarlane doesn't want to publish anymore or Eric Glosser doesn't want to do his comic anymore and it's going to come a day that they're going to do that. They're going to say, we had enough and somebody else has to take over. And yet, on the other hand, Image might be more likely to survive in the long run because they have such a diverse portfolio of content and so many different directions they can go into. You know, if people get tired of superheroes, DC's done. Yeah. Image has so many horses in their stable. I'm wondering about those horses though, again, it has to appeal to the people that are reading books now. Again, I guess I'm a superhero guy, so I'm not really into, I never really read Saga. It was supposed to be some kind of science fiction thing, I don't know, The World Invincible. I read a few issues. It's a superhero genre, but Walking Dead, I think, started as a zombie kind of apocalypse thing and then it turned into gangs fight each other or something. It's always been zombie apocalypse, it's just as a sustained narrative. Everything that can possibly happen in the world when the zombies took over. I mean, if it's not, you know, how can you really be threatened by a zombie that walks in like half a mile an hour? So I always loved it about that genre though. It's like, you know, if you're smart and vigilant, you're going to be fine, but you can't be smart and vigilant forever. Yeah, I guess. Yeah, you know, again, it's just, and then just the idea, do we even need comic books anymore? No, we definitely don't need them anymore, but there's still a niche market that wants to support them. So they're around. Yeah. I mean, except I don't want to be the guy chasing people off the lawn, but I think the story's up now. Although you did point out that Mortal Hulk was good. Very good. Very good. So there's that. You know, so there are runs that could come out. Did you hear what happened like late last year? Mark Millar actually put out a press release saying, challenging comic book creators to come back to the big two to do a run. In other words, he's saying, look, we're in trouble. We need the top guys to get together and make, do a run on a Fantastic Four or run on Spider-Man or whatever. Something to call attention back to, you know, to these characters. Well, maybe it's just time to let the genre die. Yikes. That hurt me just to hear you say that. I'm dead serious. Look, superheroes made sense in the 1940s when we lived in a world with, you know, new cities that with a police force and a government that couldn't or wouldn't keep up and people needed protecting. So you had Superman and Batman when your local police failed. That's not the world we live in anymore. And the comics we're reading aren't about characters going on patrol to stop crime. They're really superpowered beings living out, you know, soap operas. It's not really about crime fighting anymore. It's worse than that. I dare say more than half the books involve somebody coming to them to get revenge. They're not even like saying, oh, yeah, I got to stop you from robbing a bank. They're like, we don't want to rob a bank. I just want to try to kill you. It's like a dutch match between him and Spider-Man or whoever. I feel like that started with Claremont's X-Men. You know, there was almost never a time where Cerebro beat and they went, we've got to go out and engage these mutants. They were always perpetually responding to our reaction for something that happened before. Yeah. Constantly. Or they're a magnet, which I mean, they mentioned this in one of the Avengers movies where like Vision says, well, you know, you exist. So now you're kind of a magnet for people that gain powers to come at you. Oh, yeah. And that was like Miller Dark Knight Returns did that. The whole idea that Batman actually inspires more crime than he stops. Yeah. I mean, I was like, you know, you're right. You know, but it's the genre we have. Either it's revenge or somebody wants to do something and you have to stop them. So why not do something different? Why not change it up a bit? If what we really care about is good characters and good writing, that can be done in any genre. You know, I think back to Watchmen. You know, Alan Moore, my favorite part of Watchmen wasn't actually Watchmen. It was the Curse the Black Freighter backup feature. Do you remember that with the pirate ship? Jeff, you're a weird guy. But I'm like, why not? Why don't we have a pirate genre, you know? Well, CrossGen, that's another company I've been in last month. They lasted maybe, I think, less than six years. But anyway, they have pirate books. Is that true? Yeah. I remember, I want to say Ron Martz. He worked for them for a while and he said that they didn't really, the guy that was in charge, Mark Alessi, the owner of the comic book, he wanted to control everything. And I think it was Ron Martz that he created a pirate book, like, under the guy's nose. Because he didn't really, like, you know, green light it. But he did it anyway. And I think it was called El Calzador or something like that. But, I mean, it was kind of popular. I mean, if I can say, a company that went out of business is popular. But, you know, they actually did that. I mean, look, you say, how come they don't show human interest or pirates or other genres because no one buys them? That's the problem. It is a business. They can't put books out that nobody's buying. But at the same time, in the age of the direct market, you know, people are buying what you hype them up to buy. You know, we have this weird animal that feeds itself now. Instead of putting out, you know, books that are consumed by, you know, 400, 500,000 people a month, you know, we're feeding to a small niche group of, you know, 8 to 20,000 people. And it's all about convincing them they need to read the book that you're making, not because it's the book they've imagined or wanted, but because it's the book that you already have the rights to. You know, there's something else that was mentioned in the thread about variant covers. And, you know, the conclusion was, well, it's a business. And they're going to put out things that people want to buy. I never thought I'd be the person making that point, by the way. Like, my soul died a little bit when I said that, because that's so not amazing to say. But it's true. You knew it to be true. You just didn't want to say it out loud. Yeah. And, you know, there's something else that I just kind of thought as you were talking. What if, like, you're saying there's, let's say, 8 to 20,000 people buying books now. And if we're all 40, 50, 60, in about 10, 15 years, we're going to die off. And then what? And we're already dropping off of buying the books anyway. Like, I mean, we're talking about Immortal Hope like it's a new book. That book finished six years ago, didn't it? Did it? No, not six years ago. I'm sorry. It was two and a half years ago. Even the three. That book no longer exists. So I don't know what took its place. And that is the only new mainstream comic book I've read in a very long time. You know, there was a time where the idea of DC or Marvel not existing anymore existentially bothered me. And I was like, something's got to be done to save the industry. I'm long past the point that I care. Long past the point. You know, I haven't picked up these books in years. I don't miss them. And from what I'm hearing, you know, other than I heard Nightwing is really good. But from what I understand, no one's making any mainstream book that is an absolute must read. Some are just pretty good. That's what I was saying before about Mark Millar kind of championing people coming back to the fold. Like, get the top guys to come back and do a run and maybe bring back the fans. But again, bring back what fans? The 50, 60 year old fans? You know, that's no good. You've got to bring new people in. You've got to bring those former year olds into the comic store. Well, another problem, too, is in the age of creator rights, which I think we're both, you know, glad those things exist. And that creators are not exploited the same extent they used to be anymore. But if you're a writer who's already established in the field, if you've made it, why the hell would you pour your heart and soul into reviving Thor for the 18th time instead of making the work that is meaningful to you? Well, you know, I know Eric Larson, who is a favorite of mine. He's still doing Savage Dragon. He's up to issue 267. He's trying to get to 300. But anyway, he's now back. And over the years, he's done Aquaman. He's done Wolverine. He's done a fantastic four miniseries. He's done some one shots. And he actually said in some interviews that the reason he does that is so he can keep his face out there so people still remember him. Some people only buy Marvel and DC. They won't even look at anything else. Which is foolish. You know, like you said earlier, something died in you inside. Well, something died in me inside when I realized that George Perez, one of the great artists of the 80s, was totally forgotten in the late 80s into the 90s. Nobody even knew who he was anymore. He stopped doing work. I think he got sick. He stopped doing work. Remember, he did Infinity and then he was working for DC. And for a while there, he was inking like a Teen Titans book. And he was doing some creator-owned stuff that didn't sell. So people were like, when he did that Avengers run in 98 with Kurt Busiek, he became popular again. And there were people buying the book saying, wow, there's a new artist on Avengers. You should check him out. I've never heard of him before. I'm trying to process that because in 1990, he was still a very hot artist. So what, for maybe eight years, he fell off the map a little bit? He fell off the map a while. I'm not saying 1990, but let's say around the time that he finished, he finished, I think he did Gods of War, a miniseries. War of the Gods. War of the Gods, yeah. And then after that, there came a time where he was inking Teen Titans and he was doing some creator-owned books here and there. He was working for Malibu with their little line. He was just doing little things here and there. He wasn't headlining any books. And he sort of disappeared. That might have been by choice, though. No, no, no. I heard he was hit. Really down with deadlines. He was fighting some kind of illness that they didn't want to say. I remember listening to a podcast where one of his close friends said that he was going through lots of stuff. I know he got divorced and he remarried. I mean, you know, real life intrudes. Sure, it does. We don't want it to, but it intrudes, you know? But it just shocked me. They're like, oh, that's this new guy, George Perez. A new guy? That's just ignorance. I mean, honestly, if you're reading comic books and you're not even aware of George Perez, that means you're not aware of Christ in Heaven and Earth. That means you're not aware of the New Teen Titans. I mean, just go home. You're drunk. Well, you know what? It's just possible that maybe they were still pulling in in the late 90s. They were still pulling in young people to see books. Sure. Let's say the 13-year-old didn't know that other stuff. The original Thanos saga. I mean, come on. Yeah. But, you know, it's important you keep yourself out there because you forget who you are. You know, there was another thing that was kind of interesting. I read an interview or heard an interview with Neil Adams, and he said that he himself says, I left the industry for 10 years, and people didn't even notice, but I did. More than 10 years, I thought. He said he was doing covers here and there, but for the most part he was doing no regular work. Well, his original goal, I mean, as all— I mean, you've got to remember that Neil Adams was the very end of the first generation of creators. You know, he wasn't of that new group. He was the old guard, and the dream of the old guard always was, you do comics to make a living. The goal is to get into advertising. That's what you really want to do. And Neil Adams did get into advertising. I think he started his own advertising company. Yeah, he was doing— And then— I mean, comic books sell poorly, and pay poorly, I mean. Well, and then once comics started becoming profitable in the 90s, when the big boom was happening, he got back into comics and started his own. He started Continuity, his own imprint. And then that fell apart because Neil Adams is— he's a lot of things. He's a lot of great things, but I would not say that he is a great writer or a great editor. And so that fell apart, and then, you know, he sort of took whatever work he could get. It's interesting. He did—he had started Continuity, I think, earlier than that. Maybe—I want to say the 80s, maybe the late 70s and early 80s. Really? Yeah. He had Miss Mystic that came out with it, and it was actual run that was going. And he revived it all in the 90s when he saw everybody else was making money. So he figured he'd jump in there and start all his own line, which, again, there was just too much material out there. And since he wasn't really drawing any of the books, he just had a lot of people kind of copying his style. I mean, Neil Adams was always a businessman first, and a brilliant one, by the way. Yeah. And, you know, if you look at his career, as soon as he was hot enough to do cover art only, that's what he was doing. Like, even back in the 70s, he wasn't doing interiors if he didn't have to. It was covers, covers, covers, because that was faster money. It's an easier gig, and you get paid more, I think. Yeah, I don't think he was ever looking for a stable gig. He was looking for that. And, like, it was funny. Have I mentioned to you before that I worked in that tables at conventions a couple times? I think you did. I mean, what kind of guy was he? Exactly what we're saying. He was he used to he would he would train his volunteers beforehand. He would train his volunteers. And he would say one of his things was, Yeah, I could absolutely do a commission for somebody and charge them $300. But that's an hour of my time that could be vanished down to elsewhere. So I'd rather you got them to buy a $60 print. And go sign it. Right. And that was his thinking. He was he was such a businessman. And what's interesting, too, coming from that first generation of creators, you know, the second generation grew up with comic books and had a love for them. Neil Adams, and this is not a criticism of him at all, I think I can honestly say he had no particular love or appreciation for the work that he did. You know, he was good at it. He took it seriously, but he was there to make money. And so, like, he got mad at me. I will never forget this. He got mad at me. I was because I was one of his barkers. It was my job to stand in front of his table and convince people to come and buy his stuff. And he gave us a script. And the script was really stupid. It was something like, hey, if you really like Batman, check out this hot artist. Maybe Sandy wrote that for him. And I'm like, you're right. You're fucking Neil Adams. So I, like, I got, I said, Sly, like, if somebody walked by and they'd have, like, a Green Arrow shirt on, I'd be like, hey, you watch Arrow? Sure I do. You want to meet the guy who made Green Arrow Hardcore? Like, I did stuff like that. And he always got mad. He was like, what are you doing? No one's going to care about that. I said, just watch me. They're going to. And I bought him so much money that at the end of the night I did this two years in a row with him. Because he forgot me the second time. He did not remember who I was. But both times I made him so much money at the end, not to what he told me to, that even though he didn't want to do sketches for anybody, he made me a sketch of my choice at the end of the night. Is that right? So in other words, he was mad at you, but you got results. Exactly. He's a really, really smart guy. But one thing that he doesn't understand is the fandom of comics. He doesn't get it. And that was one thing I understood that he didn't. Well, I don't know what year you did this, but as people get older, they don't want any guff. They want to just tell you what to do, and you do it. Sure. But the point being, he was all about cashing in. This was a business room. He wasn't interested in meeting fans to meet the fans. He wanted to make money. And he didn't understand that he could make more money doing it that way. You know, it's funny. I met him in the 80s when I was going to these conventions on a regular basis. I think also the 90s, early 90s. And I gave him a book to sign. It was Mystic No. 1. And he signed it in silver ink, no charge, no nothing. It wasn't like now. And I remember handing it to him. He signed it, and he looked up at me and just looked at me for like a second. Almost like, wow, you know, you really like this stuff. Right, exactly. No, but it wasn't condescending. It was just like an almost appreciative look. He was a good guy. He was a nice guy. Thank you for liking this stuff, you know. But like one of the biggest criticisms people would always, you know, in the Facebook groups and all that, make about him is they'd meet him, and he didn't seem interested in the praise they were offering him. And they thought he was being rude and aloof. He's not. He just legitimately doesn't get it. Or maybe he's heard it a million times, and he doesn't want to play the game anymore. No, he was really legitimately confused by it. You know, I got to BS with him a little bit, and he loved talking about the good old days and the people he worked with. He cared about the quality of work he did, but he didn't understand fandom. He didn't get it. He wasn't making something new, so why did people want to see him? Or maybe he thought, you know, we were looking for the weeds. Yes, he absolutely, he never said it like that, but 100% he was thinking that. 100%. Yeah, I mean, look, life calls for balance, you know. You and I are not living in our mother's basement. We have whole families. We've got married a few times. We've seen a lot of stuff. How do you know I'm not a member of these basements? You moved out last month, I heard. But seriously, you know, life calls for balance. And I like my geeky stuff. I like my comic books. It brings me peace. But that's only a piece of the puzzle. I can't give a comic book to somebody and have them look at me in a demeaning way. It's like, guy, I'm like you. I've got to go to work tomorrow. I've got people that depend on me. And you've got to understand, too, that Neil Adams, he's a Depression-era kid. So he, growing up, the idea of not wasting money was probably a very big part of his upbringing. You know, I wish that could answer it, except that wasn't like Jack Kirby or people born in the same era, and they weren't like that. It depends on their personality. Yeah, but I think the idea of... But the idea of dropping lots of money on something like that just wouldn't have made sense to him. Yeah. He was shaking his head like, what's wrong with you guys? I can imagine that. Well, the ultimate joke is he tried to offer me, you know, he pays each of his volunteers with, I think it's like $100 and two signed prints at the end of each time. And with me instead, he's suddenly, you know... And I think I realized I told the story wrong before. He didn't just offer to make me the sketches. You know, I said to him, listen, I made you a lot of money today. Could you give me a sketch instead? And both times he thought about it and hemmed and hawed and then did it. And the second time he was confused, he said, why would you want this instead of $100? And, you know, I think he'd be proud of me. Any other creator, I would not have done this. But I knew Neil Adams would be proud of me. Right after he died, I sold those sketches for $600 apiece. Look at that. You know, I tell you, you know... I wouldn't do that with any other creator. I knew Neil Adams would be proud of me. You've done good. Thank you. He was, you know, but Neil Adams was a polarizing figure. I remember him saying one time that he would be at his table and someone would come up to him and say, look, you remember me? I came to your studio one time. And he said to the guy, oh, did I hurt you? I'm sorry if I did. That means he was cursing people out and telling them off and destroying their dreams like on a regular basis. He was, I mean, I think anyone who came out of D.C. in that era, you had to be blunted. You had to have a thick skin. Had to. You know, there were a lot of people that encouraged you. It sounds like he would be brutally, brutally honest. He had to sit in a room with, you know, Mort Weisinger. You know, he was regularly butting heads with D.C. management. You know, he had to be like that. And that's very old school in general. Well, you know, he had the advantage that when he came into D.C. he was already like a strip artist. I didn't know that. Yeah, he was doing Dr. Kildare, I think, in the 60s, that TV show. He was actually a working strip artist, which a lot of people wanted to aspire to. He was a working stripper. Good for him. Yeah, when he came in... I got that. When he came in, he had an advantage. Yeah. I'm somebody already. So, you know, you're not going to rip me off. But he was also very good. He knew how to schmooze people. You know, it's not like he was... I'm going to bring him up again. We're not talking Jim Shooter here. Neil Adams knew exactly how he was coming off. And he knew how to be nice when he needed to be. He knew how to play to people's sensibilities when he was trying to find a compromise or work a deal. I mean, he ran the... He led the first ever creator's union. But you heard how that ended, right? That was ended? No. He was saying insane stuff. He said that the artist should pick who works on the books. He was saying crazy stuff. And he was saying that he was dividing things up. Like, well, the artwork will get returned, but, you know, the ink will only get one page. The pencil will get all of them. Like crazy proposals. And that kind of broke everything up. And, of course, when the explosion came along, that was that. Was that coming from him or was that him trying his best to capture what the union was saying? No, it was coming from him. He said once he said that, like a whole bunch of inkers just got up and walked out of the room. Oh, I never heard that story. And you know what? I want to say something. Again, I don't want it to turn into You Know Who podcast again. But I'm going to say I was listening to something this morning. You know Bill Jemas? He was editor-in-chief of Marvel in, I think, the late 1990s and 2000s. Bill Jemas, he was the top guy. Okay. He makes You Know Who look like Mother Teresa. Oh. They said at one point he came into office. He was like a mean guy. He was a bully. And he said one time he came to the office with a bunch of comic books and all the creative people sitting there, editors or whoever, and he just started throwing the comic books at them. He says, what is this crap? And he hits a woman in the face. Jeez. And the woman went to Human Resources. And somewhere down the line, somebody from Human Resources went to Jemas and said you need to apologize to her because this is a lawsuit waiting. Well, that still makes sense better than what DC was doing in the 90s and 2000s. But let me finish the story. That's not even the best part. He walks in. They said the woman went and walked in to talk to him. And as she walked in the office, Bill Jemas says to her, sitting down behind a desk, don't be such a dick. So I've heard a lot of bad things about you-know-who, but I've never heard anything like that. Well, no, I... God, we're going to retread the whole thing again. No, I don't want to retread it. I'm just saying, like, they only talk about one guy. They don't talk about the other people in charge that were monsters. Well, I think the point is that I don't know that many people think Jim Shooter was a total dick. I think what they saw was him ruining a good thing. And he believed it had to change, and they believed it didn't. And that's fundamentally what it comes down to. And I've heard the same kind of criticism about Ben Didio. Oh, don't get me started on Ben Didio. He's the worst. He is the worst. So, you know, after working on a Didio and a Jemas, a creator could say, where's Jim Shooter? All is forgiven. Absolutely. And why does working on a Didio sound like an 80s song of some kind? Working on a Didio? I don't know. Sounds like a commercial. Is it Didio? Or, like, I've never been tried to say that. I think it's Didio. Didio? No, probably Didio is right. I never heard, Didio sounds like Daddy-O, like from the 50s. Blockbuster Didio. You just want to break out in song, don't you? I do, especially with this amazing voice I've got today. Didio killed the radio star. You've got that sexy voice, that raspy voice happening there. 999 to first minute, 499 to traditional. You're watching Neil Adams, you want to make money out of this. Well, isn't this our special exclusive Only Fans episode? It is. It's something that we, I think you should call it the odds and ends episode, because we're talking about odds and ends, you know? Right. You know, people are paying good money to hear this one, because this is the one where you take it all off, right? I'm totally nude right now. You show me your odds and ends, man, show me your odds and ends. Hey, there's no video, so I've got my birthday suit on right now. Talk dirty to me. This whole thing is dirty. This is amazing. You know, I'm sitting in my attic right now as we speak, and it's unfinished, but, you know, I'm putting all my comic books away. I got this week off, and this is the time to do it. I just got to like, it becomes like homework after a while. Oh, yeah. You know? Oh, it takes forever to let it pile up, and I have those piles need to be put away, and then you put them, you start putting them away, and you really don't have the space for them, so you've got to move everything around, and, yeah. I mean, even like, when I used to have a small collection, I used to re-bag my comics every couple years. I can't even imagine attempting that now. I can't remember the last time I re-bagged anything, unless I was actually handling it, you know, like the way it was. Right. But, you know, I mean, it came to a point where I just kind of started buying books, and just put them, like, put them in a magazine bag, like 10 of them. You're just shopping bags. Yeah, you know, just leave them in a corner and stuff, but, I mean, this is the time to devote to it, and then whenever I start doing it, I get that geek feeling. You know, you start looking at things, and, Oh, yeah. I started finding time to read again. I never do that. Look, you know, life and truth. I haven't even started looking into the stuff for our episode for next week. Well, there's, you know, yeah. Let's just hope our secret, secret guest can carry the water in that one. I have no doubt he can. I guess we better be on our toes, because, you know, he sure is a shotgun devil. My tinfoil theory this week is that everything you said is correct. Jim Shooter. Oh, boy. That's it. I'm going to stop listening to this episode. But, no, you know, I mean, again, there's been a lot of things that just make me shake my head and wonder about this. You know, you mentioned earlier that, about this hobby, but, I mean, I have so many books, Jeff, that I haven't read, that if it all folded tomorrow, I would read until, you know, I kicked the bucket. Oh, wow. Not only are we not ever going to run out of content, but what's being made now is more decompressed, more expensive per page. I mean, it's crazy. Like, I don't know if there's ever been any other point in comic book history where you can walk into a shop and buy a 40-year-old comic for less than a brand-new comic. Yeah. And that 40-year-old comic could be from a classic, iconic run. And the new issue is like some piece of garbage filler from someone who's never heard before. Ghost Rider, Volume 18, Number 12, by Dave Smith. And you're going to pay more for that than for, like, you know, this classic, important issue. It's crazy. Yeah. But, you know, again, since the point where people started writing for the trade, it doesn't pay to wrap up a story in two issues. Right. So now they make, they stretch it out. But, I mean, you know, it's the golden age, though, if you want to buy the older stuff because everything's being collected. Hey, are you excited about, at all, about the Marvel, DC crossover, like, collection that's coming out? I heard something about it. I don't tend to do a lot of collections. What is it? It's an omnibus that collects all the Marvel and DC crossovers. Ah. The Spider-Man, Superman, Batman, Hulk, Justice League, Avengers. They say all of them. All of them are omnibus. I mean, it's going to be, like, 150. Then my answer to your question is, huh. But, you know, it's like a shiny toy. It's a shiny object. I might get it, although I got, like, 90% of it already. There are very few comics you can sucker me into buying more than one edition of. Usually, I'd rather have the originals. You're smart because I got multiples of everything. It's like a sickness. I got Avengers. There are certain comics where it matters. I know. It's just, it's a shiny object. Yeah. Well, like, you know, when they did the Usagi or Jimbo Saga editions, those nice, fake, leather-bound editions, I re-bought them all. Absolutely. 100% had to do it. You know, or, like, the Fourth World stuff, the Kirby Fourth World, because the reading order is so impossible otherwise. You know, it just makes more sense to have in a trade. But otherwise, eh. Jeff, you mentioned two things, your Usagi, your Jimbo. You talked me into buying that, and that book is so great. Yes! And I'm, I read, but I just can't pick it up again. I don't know why. There's so much happening, or maybe, I have an aversion to, like, trade paperbacks and big collections. I feel like I can't really finish this. I want to be able to finish it. Okay, it's done. But this is like this big, you know, phone book. So I'm not going to finish it. It's going to take, you know, a month or whatever to finish it. Yeah. But, I'm the opposite. I have a very short attention span, so I don't read a lot of stuff. I don't do, read a lot of stuff straight through. But those, Usagi or Jimbo, for some reason, like, I just, when I start reading, I can't stop. And I will, I will fly through one of those entire volumes in two days, easily. Those are very good, no doubt. I mean, you know. There's something about the piece too, like, it doesn't demand a lot of you. It's just, it's very easy to process very quickly. Well, let me ask you this. Depends on the comic book. I, if it's, I mean, if I'm reading something like, if I'm reading a Mobius comic, it's going to take me an hour because I'm going to study every intricate detail. And if I'm reading these Bone comics I'm reading, I know Bone is supposed to be masterful, and I can see some of the skill in it. But, like, I can, I can download it in about eight minutes. Yeah. It's depending on the art and how intricate the plot is. Yeah. The art is simple. The writing is simple. It's just boom, boom, boom. Yeah. I don't know. I mean, I tell you what, I've been reading everything after the 80s and the 90s, and then I'll go back. I tried to read the early Spider-Man, the Zyko Spider-Man, and then that thing took me half an hour for one issue. I'm like, what the hell is going on here? There's so many more, so many words. Plus, you know what it is too, is they had smaller panels back then. But also, I mean, the time passage in one book is like weeks. Yeah. But I mean, like, because the panels are smaller, you have to read because the panels are smaller, you are having far more story to read through. Okay. And also, Sam's narration, he's always got a lot of narration. Yeah. I mean, I just, I was thinking about, I was just thinking about that. I was like, I said, look, a couple years ago, I said to myself, I'm going to read the Spider-Man from the beginning because I'm not a big Spider-Man fan, but it's a legendary run. Everybody loves the Zyko. I haven't read them all. I read maybe the first 10, so I'm going to read them, and it just took me half an hour for the first one, and I'm like, I'm out of here. I don't got that kind of time. I keep trying to read those, and I find them so dull. Like, I love the concept of it, the real time, this kid who's unsure of himself and all that, and I just find those stories plodding, and I can't focus on them. Like, my mind wanders. That's it. You know, Zyko fans are going to be up in arms when they hear this, but well done. Well, no, if I want good Zyko, we're just going to have to have good Zyko. We're going to have to have good Zyko. We're going to have to have good Zyko. We're going to have to have good Zyko. We're going to have to have good Zyko. We're going to have to have good Zyko. We're going to have to have good Zyko. We're going to have to have good Zyko. We're going to have to have good Zyko. We're going to have to have good Zyko. We're going to have to have good Zyko. We're going to have to have good Zyko. We're going to have to have good Zyko. We're going to have to have good Zyko. We're going to have to have good Zyko. 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We're going to have to have good Zyko. We're going to have to have good Zyko. We're going to have to have good Zyko. We're going to have to have good Zyko. We're going to have to have good Zyko. We're going to have to have good Zyko. We're going to have to have good Zyko. We're going to have to have good Zyko. We're going to have to have good Zyko. We're going to have to have good Zyko. We're going to have to have good Zyko. We're going to have to have good Zyko. We're going to have to have good Zyko. I find that so funny. I find that so funny. Did she actually say she was? Did she actually say she was? No, except that she made some comments No, except that she made some comments along the way over the years along the way over the years where she would go into a comic shop where she would go into a comic shop and guys are too busy looking at her chest and guys are too busy looking at her chest or something like that. or something like that. Well, I mean, that's people in general anyway. Well, I mean, that's people in general anyway. You know, she's 500 pounds. You know, she's 500 pounds. She's probably got an enormous chest. She's probably got an enormous chest. If she's on one of those scooters, If she's on one of those scooters, you know, pa-pum, pa-pum, pa-pum. you know, pa-pum, pa-pum, pa-pum. Yikes. Yikes. You're worse than Bert. You're worse than Bert. I'm sending you the lyrics, man. I'm sending you the lyrics, man. All right. You went to singing. All right. You went to singing. You're weird, man. You're weird, man. Trust me, this is out of my comfort zone too, Trust me, this is out of my comfort zone too, but people are going to love it. but people are going to love it. That's why we're doing it. That's why we're doing it. You think people are going to love it, okay. Okay, you sent an email, right? Okay, you sent an email, right? Yep. Yep. I'm looking for it. I don't see it. I'm looking for it. I don't see it. Check your messages. Check your messages. You know, let me get you a version of it that shows you who's singing when. You know, let me get you a version of it that shows you who's singing when. Oh, here we go. I got it. Oh, here we go. I got it. Okay. Okay. I'm going to send you a better version of it. I'm going to send you a better version of it. There we go. There we go. This is a better version. This is a better version. This is a better version. This is a long song, man. This is a long song, man. It's not. It'll go fast. It's not. It'll go fast. Use those lyrics instead. I just sent them to you. Use those lyrics instead. I just sent them to you. I'm looking for it. I'm looking for it. I only got one version. I only got one version. Okay, I got you. Okay, I got you. Oh, I guess it's still both of us talking the whole time. Oh, I guess it's still both of us talking the whole time. All right, screw it. All right, screw it. I guess I was wrong. I guess I was wrong. We're both singing the whole time. We're both singing the whole time. I guess I was wrong. I guess I was wrong. We're both singing the whole time. Do we have to sing the whole song? Let's just sing some of it, man. Do we have to sing the whole song? Let's just sing some of it, man. Yeah, I'll cut it off where it gets not good. Yeah, I'll cut it off where it gets not good. I promise you. I just hear the highlights. I promise you. I just hear the highlights. Okay. All right, you ready? All right, you ready? So while we're singing together, I forget how the song goes. So while we're singing together, I forget how the song goes. All right, do you want to hear it first? All right, do you want to hear it first? Uh, okay. Uh, okay. Really doesn't have to be this song. Really doesn't have to be this song. This is the first idea. This is the first idea. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. Okay, here it is. I got your baby. That's concerning. Are you Superman hypnotizing him? I think we can stop there. I think we can stop. That was priceless right there. Yeah, I got a price for it. I think we did something magical. Oh, boy. That was what we needed to do. That's why I said because I'm never going to get back. Oh, boy. Oh, boy. Oh, boy. Oh, boy. Oh, boy. Oh, boy. Oh, boy. Oh, boy. Oh, boy. Oh, boy. Oh, boy. Oh, boy. Oh, boy. Oh, boy. Oh, boy. Oh, boy. Oh, boy. Oh, boy. Oh, boy. Oh, boy. Oh, boy. Oh, boy. Oh, boy. Oh, boy. Oh, boy. Oh, boy. Oh, boy. Oh, boy. Oh, boy. Oh, boy. Oh, boy. Oh, boy. Oh, boy. Oh, boy. Oh, boy. Oh, boy. Oh, boy. Oh, boy. Oh, boy. Oh, boy. Oh, boy. Oh, boy. Oh, boy. Oh, boy. Oh, boy. Oh, boy. Oh, boy. Oh, boy. Oh, boy. Oh, boy. Oh, boy. Oh, boy. Oh, boy. 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