Episode Transcript
[00:00:00] Speaker A: Welcome back to the Capes and Tights podcast right here on capesandtights.com dot. I'm your host, Justin Soderbergh. This episode, we welcome Jordan Hart and David Ebeltoff to the podcast to talk the cabinet. These two gentlemen are the writers of the series over at Sydney publishing at Image Comics, issues one two are out. Issue three hits the shelf when this episode drops on April 10. Check them out. Their trade paperback comes out in October. But this episode, we chatted the book, the creating the book, the process behind it, all that stuff right here on the case and tights podcast. But before you do, check us out on Facebook, Instagram, Twitter, and Blue sky, as well as rate, review, subscribe, all those things over at podcast podcasts at Spotify and Apple and wherever your podcasts are found. You want the video portion of this, you can check out our website or visit our YouTube channel. Just search for capes and keeps and tights on YouTube. Yeah, I'm going to stop talking. Listen, enjoy this episode with Jordan and David. Thanks, everyone.
Welcome to the podcast, gentlemen. How are you? Great.
[00:01:09] Speaker B: Thanks for having us.
[00:01:11] Speaker A: It's always unique when I. When I gets harder to say. When I am talking to two people, I'm like, how are you? And they're like, which one?
[00:01:17] Speaker B: Both of you.
We just telepathically communicate. Who should speak when? I'm kidding. That would be great, though.
[00:01:26] Speaker A: That would be great. I will say that I have talked to people who. It's like, one person is like, out of the creative team is the talker. Like, they're the ones that do all the press and all this stuff. And then the other person's like, I have to do this because I'm told I have to do this. So at least you guys are both, like, going to be talkative people.
[00:01:40] Speaker B: Yeah.
[00:01:41] Speaker A: Yeah.
[00:01:41] Speaker B: I mean, if you have, Lee, not the case.
[00:01:44] Speaker A: If you have.
[00:01:44] Speaker C: If you have a preference, I can be the miserable one that doesn't want to be here, and Jordan can just.
[00:01:48] Speaker A: Talk all the time.
[00:01:50] Speaker C: You want me to do that?
[00:01:51] Speaker B: Or we could just switch halfway through. We could just do that.
[00:01:54] Speaker C: Let's do that.
[00:01:55] Speaker A: Yeah.
Well, I had personality switch. Yeah. Brian Michael Bendis and Alex Malev on. And Alex wasn't originally gonna be on and decided to come on at the same time to talk about masterpiece over at dark horse. And he was, like, eating ice cream in it. And it was so funny because it was, like, so nonchalant. And he was even said, he's like, yeah, I wasn't gonna come. I don't know why I'm here, but just not, like, mean, but like, just like, yeah, I guess I'm here. And Brian's like, what are you doing, dude?
It was perfect. Honestly.
[00:02:25] Speaker B: I mean, yeah, I bet.
[00:02:26] Speaker C: I bet Jordan. I will be sipping. Jordan will be sipping tea. I'll be sipping coffee. But, man, that's a baller move to do ice cream on a podcast.
[00:02:33] Speaker B: I know, I know.
[00:02:34] Speaker C: All right.
[00:02:35] Speaker A: He's like, canceled plans to be here. I'm like, thanks. Makes for making me feel like I canceled plans of dinner. I could have gone to dinner. It's like, whatever. But I had. I got to talk to him. But, yeah, it was fun. I tell you that much. Those guys are great. Yeah, not as great as these guys right here. Jordan and David, right? These are. These are top, top people right here.
You guys are both writing a comic or in the process of creating a comic called the cabinet. But let's go back a little bit.
Jordan, obviously, obviously, those who don't know, your Eisner nominated and Harvey a nominated comic book writer as well. So you're in the comic book industry. But have you been a fan of comics since, like, a young child, or how did your comic book origin story kind of gonna happen? Yeah. Yeah. Yes.
[00:03:18] Speaker B: Thank you. Yeah, I love drawing since I was a little kid, but basically, as long as I can remember, there was a crayon or a colored pencil I would be drawing. So my parents knew that. And I remember my dad had bought death in the family where Robin dies, right, which was, like, huge on the news. And he's like, he loved comics as a kid, but he wasn't really into them at that point.
[00:03:46] Speaker A: He's like, they killed Robin.
[00:03:47] Speaker B: I gotta get this. And he picked it up, and a spark must have just went off when he was looking at it, like, oh, well, maybe I would like this. So they took me into a comic book store, would have been 1989, because I could pick out any comic. And I got the graphic novel adaptation of Ghostbusters two because I loved ghostbusters, and I loved that thing. But it was really, that trade was more about my love of Ghostbusters, less about love of comics. And then, yeah, two years later, I think, whatever it was, I was at the grocery store with my mom, and I saw Jim Lee's X Men number one on the shelf, and it was the Cyclops Wolverine Iceman cover. And I was like, my mind, I was six. My mind could not process it. And I remember I walked up and looked at the first three pages. I went back to my bottle was like, put the Cheerios back, put everything back. I won't eat for a week. Get this installed. And, yeah, I was six years old. Jim Lee and the X Men hooked me. And then shortly after the animated series started. But, you know, at that point, that's. That was really the first major comic I bought on my own and was just in the stores ever. Ever since. Ever, you know, like, every grass I could cut. You know, I grew up in the north as well, in Wisconsin, so only half the year, so trying to, like, cut as much grass as I could, but only spend half the money so I could buy comics in the off season and, you know, recycling soda cans, whatever it took to get comic book money. So, yeah, being here now and being an image comic creator, I don't think I even would have imagined that back then. But it sure is pretty awesome.
[00:05:29] Speaker A: That is awesome. I love how you mentioned ghostbusters too, because I recorded earlier in the day for an episode coming out a week prior. So we're gonna have that episode come out this week. This episode will come out next week. And in that we were talking, we reviewed Dick Tracy, because Dick Tracy's coming out at Mad Cave this year. So we just talked about the movie, though. Yeah. I give my buddy who owns the lcs in my area, my lcs, loves Ghostbusters too. He swears by Ghostbusters.
[00:05:54] Speaker B: Yeah.
[00:05:55] Speaker A: And I'm always giving him a little bit of crap for it because I'm always, he's trying to tell me it's just as good as Ghostbusters one. And I'm like, it's not as bad as people say it is. It's definitely not better. As good as one. So I'm glad you pulled out a Ghostbusters two reference. Excellent. That's wonderful. I love that. And I love how comics nowadays do cost as much as groceries, like you mentioned, not return to the Cheerios. Like, back then, it probably wasn't as bad, but now it's like $6 for a comic.
[00:06:24] Speaker B: Yeah, yeah, I know. I mean, even, I'm sure for all of us, for kids, it was kind of always like, do you want a comic or do you want a Snickers bar?
[00:06:31] Speaker A: Right?
[00:06:32] Speaker B: That was, like, the choice we kind of all had to make.
[00:06:34] Speaker A: And.
[00:06:35] Speaker B: Yeah, I wish, I wish. Well, maybe Snickers bars are going to get inflated here over the next two years. And one choice again.
[00:06:43] Speaker A: Well, cabinet number one is only $3.99. I will give the. I'll give you guys credit on that. It is only 399. I'm not throwing that under, but I did, like, was it Mark Miller that came up with a book recently at image that he did 99 and on it was like, I'm doing dollar 99 on this book just to screw with everybody. Just to say, you know, we're doing a book for a dollar 99.
[00:06:59] Speaker B: Yeah, yeah, it's great. I mean, I wish we could do it for cheaper. And, you know, Dave will talk about this, too, but at least at $3.99, we try to cram as much into that 399 for the readers. Like, you know, like, this thing moves, like. And that's on purpose because, you know, there's a lot of competition out there. 399 is not, you know, that's. That's. We got to make it worth your while. And still, as a reader, like, when I buy a book for $4 and it's. I don't think it was worth $4, that's, like, the worst feeling, you know, where it's like, ah, I wanted someone, you know, still happy to support that lcs, obviously, but, you know, like, I just want to, like, we really want to make sure to give the value.
[00:07:42] Speaker A: Exactly. I will say, though, like, what I have, I buy too many books, and, you know, my poll list is pretty big. And so when I get in there, I do a ratio. I always do it every time I go to checkout account when I have. And the ratio of 399 to 499 or higher. Books at the big two. And the ratio of 399 to 499 or higher. Books and independent, the ratio is way higher of the higher priced ones on the marvel and DC side than it is independent. So independent creators are still trying their best to keep it at the 399, even though it's cutting into your wellbeing. And, you know, you guys make a. Trying to make a living at writing comics, it would be so much better for you guys to be able to charge four. An extra dollar is a lot. Yeah, but. But you also potentially scare off potential people who don't know what the cabinet is or books that are similar to it is. So getting them in there at that lower price, might I say lower price? 399 is still $3.99, but, yeah, it's a, you know, they're worth it. I will say the cabinet's worth it. So there's that too. Okay. So you could have charged $4.99, and I would. Thank you. I'll send you a dollar. Okay, guys, that's that.
[00:08:50] Speaker B: Can we use that full quote on our trade paperback?
[00:08:52] Speaker A: I would have paid more $1 more? Yeah, that'd be great. That's awesome. So it seems like you've been into comic books a long time. So writing comics, I mean, are you, it doesn't seem so far fetched and so on and so forth on that sense, you know, David, you're a screenwriter, so you're more on the visual, you know, the moving pictures side of things. Have you been a comic book fan your most of your life too?
[00:09:17] Speaker C: So I my on ramp with comics same time around. Jordan. I'm a few years older than Jordan, but I got into the Punisher war journal era.
[00:09:27] Speaker B: Jim Lee though.
[00:09:29] Speaker C: Jim Lee, which is, um, and uh, we were talking about where we should allocate our money as children. I was a huge baseball card collector, and I grew up in North Dakota, so our lcs was truly our baseball card shop. And the guy just happened to throw a pittance to all the comic book fans by carrying a few issues here and there. Um, so, uh, it was me. Should I buy a tops 50, you know, baseball pack or should I save that for a few weeks to get one punish award journal. So my war journal collection is like 17, 1924 28, you know, because I wasn't able to do it regularly.
So I was a fan of that for a very long time. But I got swayed away, totally cheated on comics. I got really into science fiction, fantasy books by novels, full length novels with no pictures.
That was my mistress throughout my high school years and throughout most of my twenties.
And then in my late twenties, early thirties, I started to get back into it. And then when I met Jordan, he really brought me back into the sway because I missed that whole chunk. I missed basically almost all of image. I missed like that narrative shift that indie comics were going on in the aughts where saga and revival and some of those really, really great series were diving really, really deep. And I think series have dove really, really deep before that, but they just didn't hit that mainstream market where my baseball card shop owner would order them.
So when I came back to the fold, I just sort of got rehooked, which was really, really great because I was like, wow, the narrative storytelling within this medium is so vast and so much more than I ever imagined. So I was really happy to sort of get brought back into the fold. And comics were very forgiving. They didn't mind that I cheated on them with Asimov and Dragonlance Chronicle books for many, many years, which is really, really sweet. But yeah, for the most part, I've always just loved visual storytelling and the medium I did choose was film for the longest time. Cause I'm a huge film fan, and it's one of those things where when I started to sort of, I'd say, shift more towards comics, not more, but just started to shift more of my storytelling to that medium.
It was such a breath of fresh air for me. It was also way, way harder, I believe, to write for comics than it is to write for film. Some of the screenwriters listening might be shaking their heads right now, but it's such a condensed medium, and that's the beauty of it, you know, sort of telling that story with one panel instead of five minute scene.
So it was such a great challenge, and it's such a great sort of, there's a new way or a new campfire to tell a story around. And. And it's so cool because, you know, some of the titles you guys have already mentioned on the past few minutes, those are all just like, cool little campfires that we're all invited to sit around.
So, yeah, that's sort of my journey in a very large nutshell, like coconut shell. But, yeah, that's why I'm here.
[00:12:33] Speaker A: I mean, the only, it's not. It's very surprising, actually. And actually, I would say, not surprising how many of creators have been on here, have said they stepped away from comics for a number of years. There's, like, this moment we all potentially have that. That I even did it, you know, doing this, you know, on this, I was. I had a gap where it was just like, yeah, maybe mine was more like, I'm too cool for it. Like, I can't be cool and, like, comics. And nowadays, like, it's not cool. You're not cool unless you do, like, comic books or comic movies or things like that. Like, and so there is that gap that's. There. There's a similarity, and obviously, you could speak to it more, David, than. Than I can. But, like, between comic book writing in, you know, moving pictures or feature films or things like that, because there is a visual aspect of it that books don't have, novels don't have. So when you go into writing a comic book like this, there is still, like, you can talk to your artist and be like, this is how I would frame a shot up or one of those things in that sense, too. So there is that. I talked to some people who write books and then write comics, and they're like, yeah, that's definitely different. There's definitely a difference. I'm on my own. I'm on an island here. I could. I have to write this book and what visuals are in it, I need to write into it. Whereas you guys do have the help from. From your artist on this, too, which is phenomenal, I'll tell you that right now. The colors in this book are just the only other one right now that has, like, this toe to toe with you is the trade paperback for true cult from. Oh, wow. Yep. Because. I don't know. I have mine here. I have mine here.
[00:14:07] Speaker C: Yeah, this is great.
[00:14:08] Speaker B: Great audio.
[00:14:09] Speaker A: Here is me looking for a comic on the shelf here. Is it? Because it's like, it's hard to even see on the screen. It's like I. Yeah, I designed beer labels as most of my job, and I didn't even know you could print in this color. That's what this. Well, like, I'm just looking at it. I saw it on the shelf. I'm like, if. If there was any way when you guys have your trade come out, I think it's, what, October ish, that you be on this right. Of a vibrant color.
[00:14:34] Speaker B: I know it's hard.
[00:14:35] Speaker A: Liana.
[00:14:36] Speaker B: Liana's great.
She is so, so great.
[00:14:41] Speaker A: Yeah, I was like, saw it. I like it stands out. They probably sold copies of this book just because it's like, what is this? I need this. It's bright pink, but no, the colors in it are amazing. And the visuals of it are wonderful in the cabinet. And I'm so, so pumped that Melissa over at Doehide sent me some, some advanced issues before. And we were supposed to talk a little while ago. So, yes, we are mid release of the cabinet and which we'll get into here in a second, too. But you mentioned David, when you met Jordan, how did you guys get together? Like, how has this team of a writing team come together in the first place? Either one of you can speak on that. It doesn't matter.
[00:15:20] Speaker C: Jordan. I can't remember who answered it last.
[00:15:22] Speaker B: You go.
[00:15:22] Speaker A: You can. You can take it. Should I. Should I go?
[00:15:24] Speaker C: Okay, you can. I'll pass it off to you.
So, yeah, during this time, when I met Jordan, man, maybe ten years ago, maybe a little bit more, through a mutual friend who I was working with, we were sort of working in the independent film world together. Jordan and his buddy were writing a screenplay. And through mutual friends, the screenplay made it my way. Jordan and his buddy were like, yo, you're writing screenplays? Um, you have a year or two more quote unquote, professional knowledge than we do. Uh, would you give us notes? And I said, heck, yeah, I'll give you notes. So I read this screenplay. Super, super funny. Um, I gave them notes, and since that point, Jordan and I just sort of struck up an online friendship. We're sort of like modern day pen pals. We, um, we would just email each other. Uh, Jordan would be like, yo, check out this book, uh, or check out this graphic novel, or check out this cool little comic, or check out this script that I want to make into a cool little comic book. And I do the same. I'd be like, yo, check out this crazy ass film. Or check out my crazy ass script for a hopeful crazy ass film. And we did that for a very long time. I mean, I don't know, maybe six years, Jordan. Yeah. And so it was cool because we were able to, we bonded over a lot of things. We're both from the midwest. We both went to art school.
We both saved our money for comics, and then I later saved them for things I cheated on comics with. And we both just sort of had these mutual fandoms, mutual appreciations, and mutual work ethics, which I think if you've had other collaborators on here as well, you have to sort of meet those people that match that passion and match that drive, because we've all been in those group projects in high school or maybe beyond, and sometimes one person carries that and the other three just sort of coast off of his or her coattails. It was really, really great to sort of find all those commonalities with Jordan, and just also, we were good friends, and so we were able to work together. And so in 2018 ish, and I'm going to hand it over to you, Jordan. In 2018 ish, we were talking about collaborating on something. We thought, you know, we're like, hell, this is the time. Jordan had a few great comics come out, I had a few films come out, and we just wanted to do something fun together. And so we sort of were exchanging ideas back and forth, but we couldn't really find the right one that fit for, like, both of us. Jordan had a great idea, but it was almost like, a little too farther along. Right? So it's like, well, that should just be Jordan's idea. I'd have an idea, but it just, you know, wasn't hitting in terms of whatever needs to be hit. So, yeah, Jordan, I'm going to pass it to you and your wonderfully fateful day at the Getty museum.
[00:18:02] Speaker A: Yeah. Yeah.
[00:18:04] Speaker B: So I live in greater Los Angeles now, grew up in Wisconsin, live out here now. And it was a heat wave, and my wife and I were living about nine blocks from the beach, which is awesome. But none of those apartments have air conditioning. So when the heat wave comes, it gets, you know, like, our thermostat in our apartment, our thermostat would hit, like, 91. Like, it was crazy. So, I mean, we got window air conditioning units, but, like, if we had left and didn't. So, yeah, we went to the Getty museum, which is in Brentwood Bel air. And we were walking around, and this is right when David and I were trying to think up ideas. And sure enough, I walk into one building, and they're sitting on this huge display table in a giant display case. Is the cabinet. A cabinet. So, like, it exists. It's a real. It's a real thing. And it's this. This three foot, four foot display cabinet that has four sides, tons of hidden drawers. It's got oil paintings in it, gold, like, ivory bone accents. It just looks haunted. It just looks creepy. And I'm looking at it, I'm like, that's the idea right there. Like, this. This is crazy. From the 16th or from the 17th century. This is nuts, as David mentioned. And we can get into this later. But I think one of the reasons the cabinet is so visual and everything is that we are both writers now, but we both went to art school, so the cabinet is the first book I haven't colored. I mean, chiara colors and all my other comic books I've colored.
And Dave will do sketches. So, like, we're very visual in how we. In how we write, which is, I think, evident in the cabinet. And, yeah, I just sent Dave a picture. I was like, I think this is going to be our idea. And he loved it, too. So then we had, you know, what they call a bake off, which is where basically, he came up with his take on what kind of story we could have with the cabinet. I came up with mine.
They were much different. Mine was more like a conjuring type horror story. Dave's was what we have now and a supernatural adventure story. And I was like, that's what we're doing. And he's like, no, no. We can use very gracious. Like, we can. We could try to see yours. Like, nope, we're doing this. This one's more fun.
[00:20:22] Speaker C: We can make both cakes.
[00:20:23] Speaker B: Yeah. I was like, you've read it, but, like, you know, I think the cabinet is something that, I mean, there's elements of stuff we've seen before in comics, but, you know, it just felt different. It just felt, like, fresh and different and something that I was like, no, this is. This has legs. We can really. We can really sustain this. And. And I just knew it was gonna be so fun to write because David and I just always laugh when we talk, and we're just having fun. I'm like, this is gonna be so much more fun to write than like, a straight down the line horror story. And. And, yeah, that's. That's how it happened. That's how it happened. And, yeah, that was. It took from that .4 years for it. Four and a half years, I think, for it to actually go to the printer. So, yeah, very long, slow journey, but worth it. It's been worth it.
[00:21:13] Speaker A: Is that a mixture of writing it and getting it and getting it over to, you know, image and things like that in the pandemic, or was it.
[00:21:20] Speaker B: Yeah, okay. Yeah, that, and then also Dave's blood for dust going into, like, production, you know, and then, like, I was on ripple effects. That deal came through, so then I had to switch and focus on that because I was writing and coloring all of it.
So, yeah, it was just really. It was the pandemic, a schedule thing. And, yeah, life, really. But it was like we always kept pushing it forward. It just kind of always kept moving down until the perfect time happened about two years ago where it just like, okay, we're doing this.
[00:21:58] Speaker A: Let's go. That's awesome.
And it's funny because when you see two writers on a book, sometimes you, David, your title is a screen. Your screen. Right. You actually, like, write scripts and things like that.
[00:22:10] Speaker B: I do.
[00:22:11] Speaker A: And you write comics, Jordan. But when you have two writers on there, sometimes I get a little apprehensive, like, okay, this is going to be, like, extremely rich. Like, it's going to be like speech bubbles to know tomorrow, things like that. And the funny thing is, you immediately squash that. That the first two pages have zero speech bubbles in it. And, like, right off the bat, they're like, nope, it's visual. Right now, we're just going to show you what you want to see and so on and so forth. And then when you get through it, the whole book is balanced in that sense. Like, you. You did the artist's interpretation of things, and then there's the bubbles and all that stuff. Like, it's definitely well put there. And, Jordan, you lettered it. Is that correct?
[00:22:51] Speaker B: Correct.
[00:22:52] Speaker A: Yep. Yeah.
[00:22:53] Speaker B: So, yeah, I lettered it. Okay.
[00:22:55] Speaker A: So it's just kind of funny because I do think that there is this ability. There's certain writers and those who know me, and I'm not going to call out people on the podcast. But there's certain writers who I'm like, you just stop writing. Let write notes and let your artists do some work. Because like, come on, I'm tired of writing. I read novels too. Let me read novels and let me read comic books. I want to correct.
[00:23:16] Speaker B: And to David's credit, he, he being so visual and going from our school, like that's, that's always my stance is you're here for the visuals. This is a comic book. Like, I'll, I can write a novel or a prose short story if you want text, you know, my mindset is always get out of the way of the artist. And if it can be said without a speech bubble, great. I remember when I bought the saga, the first volume of Saga, Brian K. Vaughan has like a section, you know, where he's just writing about the process in the back. And I read it years ago and he's like, my goal is to never exceed eleven speech bubbles a page. And it's like you start when you know that and you start going through song, you're like, holy shit. Like, he never does. Like, maybe a few times he does, but it's like he lets the art breathe and do the work and like, that's what comics should be. And luckily David is like fully, fully in that, in that camp. And when you have someone as incredible as Kiara, it's like, then I'm lettering it and I'll email Dave and be like, I think we can cut this, this and this just to show more art. And he's always for it. He's like, yeah, get it out of there. Like, do this. And like, he's proactively rewriting stuff for it to like, be a smaller bubble. So, yeah, we, we know visuals are the heroes in comics, but especially with Kiara, it's like, man, we gotta let her just keep flexing on every single page. So that's our goal, and I'm glad.
[00:24:46] Speaker A: It shows, it shows the team, and I do think that it's a effortless read. And that's one of the things you want also, is you don't want to struggle and get, you know, I was reading a book recently, I got an advanced copy of it. I'm like, three quarters of the way through and I'm like, I can't do this anymore. Like, I feel like I'm working way too hard at this right now. And I'm like, I gotta get over it. And there's been comics like that too. There's also been comics the opposite way. It's like, okay, I get through it. I'm like, I'm so confused. And then you get to it. You go back to the panel, you're like, oh, I was supposed to see something that the person was holding, or whatever it may be. And I get lost in that sense, too. And this balance is really, really well. Was this, who, who was the, who scripted it? Like, was it something that you guys worked together on, or was this, like, someone's role?
[00:25:26] Speaker B: So, yeah, this was Dave. Yeah, Dave scripted.
[00:25:30] Speaker C: And, yeah, I mean, we both did it together really what Jordan was talking about previously, where he was going through his, like, egot run within comics with ripple effects, you know, which that's like a haul. I mean, you worked, you worked really hard on your promotional circuit for ripple effects. So during that time is when the cabinet started to come more into realization. Before that, we had tons and tons of great just story, narrative breaking sessions, stuff like that.
And a lot of the fun influences, a lot of what, you know, nineties influences, film influences. We've had those conversations to know available. But it just sort of worked out that at that point, I was the one that was able to start the giraffes and, you know, the Brian K. Vaughan page that you read. Jordan told me that, like, he gave me this, like, sort of small set of like, yo, because I've never written for comics before. And he was like, let's just shoot for this type of stuff. And that was, one of them was like, no more than eleven. And I think we did some other things that, to start, we like to break panels. You know, we like to try to get 20 panels. I mean, like, you know, Tyler boss and Matthew Rosenberg, like, when they go for, like, the 32 panels, that stuff is just so awesome. But we tried to be like, okay, let's just see what we need to work with. For Kiara Rahmandi, our artist. Let's just see how she operates within certain panel structures. So I think at first we were just sort of saying like, oh, five to nine panels. Eleven bubbles. Let's see what we can do.
I scripted it, and then I'd send it to Jordan, and Jordan would rewrite it or give notes. And a lot of times, the stuff that you're talking about, less text, less dialogue, it was sort of like, yo, this is a great little piece of dialogue, but maybe we could split that into just a visual panel. So I think it was really great teamwork within that where I was doing the typing on the keys, but it was, we had, I had to get a professional opinion or else it would. Or else it would be like, you know, one of those comics that all of a sudden you have one whole page of text that's just on, like, a letterhead, you know, but it's really just a splash.
[00:27:34] Speaker A: And that's what I was talking about. Like, that there's comics out there and they haven't released in the past couple of years, that it's like, the opening page was like, I want this comic book issue to be 57 pages long, but I can't because I'm not allowed to. So here is an entire page that takes the place of 30 of those pages, and it's like, well, then that's not like, that's not what I want.
[00:27:57] Speaker C: Jordan was sort of like my pit crew for those drafts. You know, he was sort of telling me, like, jesus, I don't know NASCAR at all. I don't know why I'm going into racing.
[00:28:06] Speaker A: I'm going. You rode yourself into a hole here.
[00:28:09] Speaker C: All right? I'm literally going off of watching cars one, two, and three with my kids. But, like, literally, you know, I'm, you know, Jordan's the one that's telling me, like, who's drafting off of me and what turn to take and, you know, when to pit and when to stop and. And, I mean, that's. It's ridiculously necessary to have that, or else I think it would not be the successful read that. I'm so glad that you found it to be.
[00:28:32] Speaker A: Yeah. And I think it's great. I think there's a team effort. I mean, I work in the brewing industry. Like I mentioned a little bit off a recording here, and other people know who listen to this podcast is in the brewing industry as a whole. We're a collaborative of people. You know, if we're missing an ingredient and someone else has it, someone will drop it off and borrow it. If we're. We do beers together. We collaborate with other breweries, collaborate with other companies and people.
We did a beer last year with Daniel Krause, the New York Times bestselling author, about his new book, Whalefall. So there's all these different collaborative things. And that's what I love about the fact that I'm in both worlds. The beer industry and the comic book industry is like talking to people like you who. It's proven that a team works really well as long as the people understand each other and get each other. And that leads me to your artists. How did that connection come into, like, how did you know? Obviously, you mentioned Jordan. You didn't color this. Was there, was there a purpose to that? Was there a reason why you didn't color it? Yeah.
[00:29:28] Speaker B: That purpose is Pr. Raymonde being just incredible. Incredible. You know, like, so, yeah, we knew we needed artists, and we knew we needed an artist that could really capture emotion, you know, because as David mentioned, we were really pulling speech bubbles and pulling captions. And when you do that, you have to have an artist that can say all the subtext on the surface level of the faces, which is incredibly hard to do. I think that's the hardest thing for an artist. You know, like, explosions, splash pages.
[00:30:04] Speaker A: Awesome.
[00:30:05] Speaker B: But, like, how do they handle two people talking over a coffee? Right? That's where you tell how good an artist is. So we found Kiara on Instagram just searching hashtag sample page. And she popped pages.
[00:30:24] Speaker A: Yeah.
[00:30:24] Speaker B: Yes, that's right.
[00:30:25] Speaker A: Sorry.
[00:30:25] Speaker B: Sequential pages. She was still in art school. I think she was 24, and she really didn't have a ton of sequential work, but we're like, well, at the very least, she would be great for covers. Let's reach out to her, see if she's interested. She was.
David typed up some character descriptions for Avni and Trent, and the black guard sent it over, and we nearly passed out when we got those, which are in the bonus pages of the issues. You'll see that original art.
And then, yeah, we gave her, I think, six pages to just see how she handled sequential pages. How is she going to handle the camera? You know, composition, that's the other big thing with a, with a comic artist. Like, how do you crop each panel? How do you make them interesting? And, and, yeah, she just, I remember she sent through speechless.
[00:31:14] Speaker A: Yeah, yeah.
[00:31:17] Speaker B: I think all I did was I called David. I was like, this is, is now an image comic. I was like, I told him immediately, I'm like, she is now has made the cabinet an image comic because we knew she wanted it. We, like, we knew she wanted in. And, yeah, and she worked us into her school schedule, you know, and at that point, I think we worked with her for almost, I mean, almost a full year before, maybe a year and a half before we even got the thumbs up from image.
And it was great because, like, we could get to know how to work with her. And, yeah, when I saw her color work, I'm like, I can't beat this. Like, well. And, you know, I'm like, and she's drawing with those colors in mind, too, you know, so it's just like, that's her process. And, like, okay, great. So, yeah, we hit the jackpot and like, I've said this before, I say it every time, but, you know, like, everyone bills. This is her first american comic. Like, she's never had an american comic before. And, like, the fact that her first american comic is an image comic really is a testament to her, how brilliant she is.
And on top of it, she is the nicest and kindest and sweetest and most hardworking person in the world. And we're just so lucky to have her involved.
[00:32:32] Speaker C: Yeah, hashtag blessed, for sure, because that's how we found her. And on top of that, you mentioned her age. She is sort of a wunderkind within that. But, you know, I'm in my early thirties. Jordan's in his late twenties.
[00:32:46] Speaker A: Yeah, I wish. I wish.
[00:32:49] Speaker C: But we, you know, we're set in the nineties and here we are throwing out references. Like, Clarissa explains it all and saved by the bell, and we're throwing out, like, reebok pumps, and we're throwing this out to a young artist in her twenties in Italy.
And she knew what those were. And so, like, our souls sort of like, our fandom souls sort of melded right away where I was super worried. I was like, yo, we have, you know, an italian artist. And maybe that was never, maybe Clarissa explains it all never aired in Italy, you know, and we just don't know. And. But luckily she has that sort of, I'm going to call it an older soul. It has nothing to do with age, but just like a. A time specific soul. So when we started talking about this stuff and she knew what it was and would send us pictures back, we're like, oh, my God, how did you know this? This is so, it's just so cool when that stuff happens. Not only because her art is brilliant, but also because she stepped into our geekdom full stride and just like, and just, like, ready to rumble within our, within our, like, odd fandom, you know, realms. So we were really, again, blessed. She came on board. Yeah.
[00:34:02] Speaker A: And I like how you said it too. I mean, you, you can imagine Jordan, like, having someone color that's that good at it. Makes a little easier for you not to do it.
Let's take it off my hands.
[00:34:12] Speaker B: It's fine.
[00:34:13] Speaker A: I can work on other duties here. I'll even focus on that. That's pretty nice on that. And I. You still want to color, I'm guessing? I mean, in future things, future projects and things like that. Like, obviously you're still interested in doing stuff like that. Or is it now you're like, oh, I'm done. No more coloring for me.
[00:34:29] Speaker C: Did you ever want to color?
[00:34:31] Speaker A: Yeah, that's a good question.
[00:34:32] Speaker B: Actually, I never wanted to color. I always have done it on all of my books. All five of my books, except the cabinet is the first one I haven't colored because I always had to do it to save money.
[00:34:44] Speaker A: You know what I mean?
[00:34:45] Speaker B: Like, it's like, okay, I can pay a colorist or I can just do it myself to save money. If I had time to do it, I would. I would certainly keep doing it. It is very therapeutic, and it's very fun for me, and I love creating palettes and all that stuff. I mean, you're a designer, you know, like, it's very fun just on a podcast. And color. But, um. But, yeah, it's, uh, at, these days, the more I color, the less I can write, and that's, like, what I truly love. So, yeah, I think. I think the coloring will, will start to drop off and. And that's okay.
[00:35:17] Speaker C: It's going to get taken over by your lettering because.
[00:35:20] Speaker B: Yeah.
[00:35:21] Speaker A: Thank you.
[00:35:22] Speaker C: You know, you were talking earlier, Justin, about just sort of, you know, the narrative structure and narrative collaboration, and it is, it's been really, really great for me to also then work with the letterer, who's also one of the writers, because I, obviously, as a casual reader, people don't realize the importance of lettering and the importance of placement of bubbles and stems and all that stuff. But as you get more and more into it, it's such another narrative level, right, where it's like, if that is not on point, it's going to pop out and throw you off the narrative or throw you out of that conversation. So it's been really great to work with Jordan on that, too. And also, I think you might get more lettering work, Jordan.
[00:36:03] Speaker B: I think so, too. We've had a few people ask, like, who's the letter?
[00:36:06] Speaker A: I know. I don't know.
[00:36:08] Speaker B: Good question.
[00:36:09] Speaker A: I don't know. Yeah, find that out. I'll look into it for you. I'll get back to you.
[00:36:13] Speaker B: Yeah, but, I mean, yeah, Justin, you're a designer. You know, like, let, like, lettering. I feel like, you know, I always say, is the offensive lineman of comics, like, you only notice lettering when it's bad, and when, when lettering is bad, it'll just destroys a page. It'll destroy the art and everything. So it's like, yeah, it's, it's.
You got a nail lettering. That's what I always say.
[00:36:35] Speaker C: Sorry, just because. Oh, go ahead, Justin.
[00:36:37] Speaker A: Well, the lettering part is the two of the, some of the best people I've had conversations or people that liked my episodes on here have been with letterers because they completely forget sometimes that that's even a thing. Like, some people don't even understand it. Some people are just, you know, obviously in this case, it's outside the norm because you are a writer, Jordan, and the letter. Yes. Did you also write the words in the book? Yes. You did? So it's not. Yeah, there is a crossover there, but, like, and then some of the favorite podcasts that I've listened to from other podcast hosts, creators of this, Ben Lederers. It's like, it's just a fascinating thing to be. Like, there's just so much more that goes involved in it than you even think about it. And there's like seven good ones in the entire world.
Like, like really, really good letterers. It's like there's only a handful of them. Yeah, a seven finger. I guess that's not. But you know what I mean.
[00:37:27] Speaker C: Totally. And, you know, speaking of the number seven, while I was writing, like, I think I was doing the rough draft on issue three or four, and Jordan took a couple of weeks finding out the perfect font size. And we literally talked between, like 7.5 and something else. Right, Jordan?
[00:37:45] Speaker B: Seven, yeah, it was like 7.5 point or seven.
[00:37:49] Speaker C: Exactly. And, you know, and, and he tried all these different kerns and all, you know, like, that's the extent of my font knowledge right there. But, like, Sarah, there we go. Those are the things I know. Uh, but, you know, he tried everything and he'd print them out specifically to spec of the issue size that we're going to get. And he put them up on his walls and we talk about him. He sent me pictures and, I mean, it took, it took us like two or three weeks. Not us. It took Jordan two or three weeks to really figure out the perfect style and font and size, you know, for the book. And I think, man, most people just don't know that that goes on behind the scenes at all.
[00:38:25] Speaker A: And again, like, Jordan, you said it. You shouldn't. Like, you're not. You shouldn't. But, like, if it don't notice it, then it's good in a sense. Like, there is a small portion when you see, like, I've seen certain. I actually have. I used to have it on the wall. I took it down. But, like, DC Hopkins lettered Noctera issue. There's a two page spread with a truck flying by. And it says room down the side of the truck. And I'm like, okay, that's noticeable, but in a really good way. Like, that's a very noticeable page. Yeah, but most of the time you shouldn't notice it. It's very blocky, a very chunky thing. And you noticing it, you're not supposed to, and so on and so forth. It's a blends together in that sense. And I will say that I, up until recently, I didn't read anything on my phone, like social media, text messages, phone calls, all that stuff. If I read digitally, it's on my iPad.
You know, every once in a while I read on my computer screen because I get a PDF of something and I'm like, I might as well read it here. The lettering was big enough for me not to have to zoom. You know, I'm 37. I still didn't have to zoom on my phone because I was waiting in the doctor's office being like, hey, I'll read a shoe one again. And I was scrolling through and I, and I was like, oh, I don't have to zoom this. This is nice. So there's that too. So you have that ability because there are people that read this. There are people who buy this comic book who solely read it on their phone. Like, they're not even going to hold an issue.
[00:39:41] Speaker B: Totally.
[00:39:42] Speaker A: They're not going to like see it on their iPad, that they're literally going to read it on their phone, which is crazy in my opinion.
[00:39:46] Speaker B: But like, totally. And that, and that was like, that was another thing we were really testing for what David mentioned because I think to your earlier point, that's another trick of writers that aren't self editing as much as they should. They're like, oh, we'll just use five point type. And it's like, okay. In the printed issue, it's okay. But then you read it on an iPad or phone and I'm zooming in. I'm like, oh.
[00:40:08] Speaker A: Like.
[00:40:10] Speaker C: And simple things. Like we have an extremely limited amount of dual page spreads because dual page spreads on your iPad get effed up, you know, I mean, and because all of a sudden you're reading portrait and you're like, this is great. This, ah, shit.
[00:40:28] Speaker B: And then you're like, yeah.
[00:40:29] Speaker A: And you're like, are you supposed to read across? Am I supposed to read, I know, I can't figure this out.
[00:40:34] Speaker C: Yeah, and it shouldn't be. All creators out there. Don't change your expression of the medium for who's going to read what on what. That's what we had to keep on reminding ourselves. But like, you know, sometimes we're like, okay, does this. We also made sure to just do 22 pages of story, like classic comic book length pages per story, also to keep the price down and to keep the trade price down for everybody going forward. But we had to keep on asking, like, is, does this need a dual page spread? Yes, in that floppy, this will look the best. And that's where we want it to look the best. But we had to have those conversations where we're like, okay, can we tell this visually some other way to not get that dual page to. Yeah, maybe appease the younger audience because we do have a very ya. Leaning angle that are going to be.
[00:41:19] Speaker A: Just on that phone. You know, I'm a huge floppy comic collector anyway. Like, I do a lot of floppies. Yeah. And then I do collect trades most recently, and people give me crap at the comic book store. I collect the trades that my pull quotes have been used on, and they're like, that seems very.
Why would I say so? Yeah, but I have trades in that sense. But I do move mostly floppy. And so I just don't even get the idea of a. All the way from a floppy to a phone is like a far. And I sound like an old, crotchety old man here, but like, it's so much different of experience, in my opinion.
[00:41:52] Speaker C: It's really different.
[00:41:53] Speaker B: And, you know, not.
[00:41:55] Speaker C: And I mean, we, we created this for, for a floppy as well. And, you know, we. Maybe we'll put five or six of your poll quotes on our trade, so you have to buy five or six issues.
[00:42:06] Speaker B: Yeah, there you go.
[00:42:07] Speaker A: Well, the funny thing is, the first time I noticed that I was reading an advanced copy.
Mad cave Studios legacy of violence from Colin Bunn issue volume two. I was reading the advanced copy, and I get to the last page, I'm laying in bed, I'm on my iPad, and I scroll the last page, and I'm like, what the hell is this? And then I went back and there was like six trades before this that came out that I had no idea. No one lets, you know, they just come out and I'm like, well, I collect the floppies. I'm not gonna go buy the trades. And now I have like, there's like 15 of them, but like, you know, I can't get it. Let's get in my head. Someone wanted me to sign one the other day. I was like, no, that is not happening. Yeah, it's the same thing. I like, I don't sign my cans either, because I'm like, I don't know. It seems weird to me because it's like, I don't know. I just don't, I don't know.
[00:42:52] Speaker C: I'd supported signing.
[00:42:53] Speaker B: Yeah, you could do that.
Yeah, you should.
[00:42:56] Speaker A: I have other sign cans, but not.
[00:42:58] Speaker C: Only after you chug it in front of me. You have to like, yeah, you got a shotgun it and then you sign it.
[00:43:03] Speaker A: Yeah, exactly. But no, because I've designed cans for comic book conventions. We did one with Terrifyer, the guys from terraforming, the movie. Yes. David Howard Thornton and Damien Leone. We did a beer called Terrify Pa and we had signed that one. I did done those ones. I did one with the guys from clerks. And so we had people from clerk sign that. But like, I'm not signing my own. I'm sorry.
[00:43:26] Speaker C: Are you, are you a terrifyer fan?
[00:43:28] Speaker A: I am a terrifyer fan, dude.
[00:43:29] Speaker C: Me too. I'm extremely disturbed each time I watch terrifyer. I'm still a terrifyer fan.
[00:43:34] Speaker A: And I hadn't been like, people will know this until talks on the podcast with me about horror stuff. And it wasn't until about five years ago, maybe four years ago, that I even cared about the horror industry, like, at all, like horror comics, horror books or anything. And I was like, eh, so all of the horror horror movies, like Halloween, all of those are like five years old to me because I never saw.
[00:43:53] Speaker C: But isn't that the best? Isn't that the best when you're introduced to something? I mean, this is when I came back to comics, I was like, whoa, I have 25 years to catch up on. And that's sometimes the best as somebody in our age group where we're like, wow, look at all this discovery and education and new stories to unfold and uncover.
Yeah. Which is the best. So it's almost better sometimes to be a Layton fan and like, you're from Maine. We all know this Mister King. We all understand.
[00:44:19] Speaker A: He's like, down the street from me. He lives down the street from me.
[00:44:22] Speaker C: So it was inevitable at one point in your life you were going to have horror seep into your life.
[00:44:26] Speaker A: I felt horrible because I read Salem's law in October for the first time, was my first Stephen King book I ever read. So it's like, I was like, oh, Stephen King's great. He's awesome. And people are like, what do you like about him? Like, I don't know. He lives there. I knew him. I don't know.
[00:44:41] Speaker C: Yeah, dude, you have the same zip code as him. That's all you got to say, yeah.
[00:44:45] Speaker B: And you're saying you live in Derry. That's, that's what I take away.
Got it.
[00:44:50] Speaker A: I'm like, yeah, Stephen King, that guy, he has dark tower comic books, right? He's like, yeah, yeah, dark Tower. He came with the comic book, right? The Stan comic book, though. Yeah. But it was, yeah. So horror to me has always been thinking, but, like, horror comic books now are like, I don't know. I was always a big two guy. And horror and the elements of horror and mixing that in the cabinet with the throwbacks of the nineties you mentioned earlier with your artist being younger, that feel to me was awesome, too. Our number one beer at Orino Brewing company here in Maine is tubular ipa that has a very strong saved by the bell theme. And so that aspect of it was obviously hit home with me there, too. And so I was really excited about that when I read it. But, yeah, the book is beautiful. It's well written. All that stuff is fun. And so I'm guessing, David, you're writing the screenplay for it right now, right?
Well, yeah.
[00:45:42] Speaker C: Should we do, should we do an exclusive? We were at Wondercon together. We were at Wondercon together and we were talking about next steps and we were like, yeah, we should probably, we should probably write this into something more. And so we'll just leave it at that. We'd love to. But, you know, the biggest thing is that we want this to be a great comic for comics. And so the, the fun thing that we've been doing for the longest time is just developing more and more arcs. This world is really, really big, and we've just scratched the surface. And obviously, every comic creator that probably comes on this would love to keep on scratching and scratching and scratching. Unfortunately, the industry's a little bit tighter for that right now. But, you know, we have volume two already sort of planned out and ready to roll. And so, you know, if people keep checking us out, we had a good, solid launch. And I know when our trade comes out in October, if that's solid, we're going to come back and we're going to keep on doing more because we'd love to just keep on telling stories via panels and pages and page turns and sweet bubbles and stems. Right.
That's still the main goal.
[00:46:42] Speaker A: Exactly. And so you have issue one debuted on February 14, and then issue three comes out the day this nine days. Well, yeah, they will actually come out today. So you're, when people are in their cars, they're getting their podcast on there to make sure on the way home from work, you stop by your lcs and you pick up a copy of issue three. And I hope they're sold out of issues one and two. But if you're lucky, they're not. And then you can grab issues one and two and catch up to where you are now, you know, and then if not, you can wait. But issue, issue four comes out on my birthday. So there's that. Awesome.
[00:47:14] Speaker C: We planned it just for that now.
[00:47:16] Speaker A: Now it's gonna be delayed. Watch. Yeah, it's gonna be a printing or shipping error. May 21.
[00:47:23] Speaker B: I got that to image last Thursday. So, yeah, it's on the printer. It's on the printer. If it's your best birthday.
[00:47:29] Speaker A: We all know you guys work in the comic book industry here, too. We all know that all these things are arbitrary and dates are not actually set in stone. Trade desk. And some people trade weight, which is, you know, I always say that as long as someone's reading your book and buying your book, buy it the way you can. So steal it.
[00:47:46] Speaker B: Yeah, but, and if you're buying it from an lcs, that's, you know, like, go ahead. Like you want to be a trade reader, the cabinet, thumbs up. Just buy it from your store.
[00:47:54] Speaker A: Honestly, if you don't have an lcs, one thing I've actually been on to, and I'm going to say this now, full disclosure is I do get a kickback now when people do this, but when you buy, when you click on the link on our website to buy the book, it goes to bookshop.org for the trade, but that also supports local bookstores. So it's not an LCs bookstore, but still a bookstore to get it from. And that way those people can actually get your business instead of other places.
[00:48:18] Speaker C: But I buy all of my mistress novels. All of my novels I cheat Optimus with through bookshop because, yeah, it's just a huge independent bookstore network. So, yeah, highly.
[00:48:28] Speaker A: You pick a bookstore and it goes and it supports them as well and things like that too. So yeah, I do that now. I used to do a link through Amazon affiliates and things like that, but bookshop has it. Why not do it that way? So I'll get small kickback if people buy it. But, but that way at least local public looks after it too, which is awesome.
[00:48:44] Speaker C: As we're talking indie really fast. There is a indie app to comic book creators, and I don't know them personally, but omnibus, the cabinet is on omnibus and I think that's sort of the best place to purchase it digitally. Because they are, they're just independent. They're not comixology, if that place even exists.
[00:49:02] Speaker A: Or such an arbitrary. It's basically Amazon Kindle something, whatever.
[00:49:06] Speaker C: Exactly.
[00:49:07] Speaker A: The founders and creators of omnibus came on a while back. Talk.
[00:49:11] Speaker B: Oh, good.
[00:49:11] Speaker A: So yeah, they're buy digitally, stuff like that. You're going to buy it digitally for sure. And honestly, yes. Pay. You guys want to get, you're doing this because you're going to get paid to do this as well. But like read the book. So if you have to borrow someone's single issues before you buy the trade, whatever, that's the way. That's cool. But read the book because people are going to read at least the first issue because I guarantee you once you read the first issue, you're going to want to buy the rest of. That's the my, that's my, here you go. Put that on the back.
[00:49:39] Speaker C: Seal of approval. Thanks.
[00:49:42] Speaker A: But that's awesome. So I'm glad that you guys came on and we're able to talk about it a little bit. I don't know if there's anything else you guys wanted to chat about the book itself, but it's wonderful. I recommend, highly recommend it. We have a review up on our website as well if anybody wants to read that.
But any other tidbits about the book that you guys want to throw out there, man, probably.
[00:50:03] Speaker C: I'll just go really fast.
[00:50:04] Speaker A: Yeah, go ahead.
[00:50:04] Speaker C: Follow our artist Kiara Rahmandi on Instagram because we waxed her car a lot on here. She is really amazing. She's really great. And her work not only speaks for itself in our book, but yeah, give her a follow on Instagram. Okiren. Right o c h r y.
[00:50:21] Speaker B: You'll find her on the image page, too. You go to any cabinet, any cabinet, post, image, Instagram account, you'll find all three of us.
[00:50:30] Speaker A: Yeah.
[00:50:31] Speaker C: Yeah. Find her. Because she wasn't able to be here, but her work speaks for itself, so.
[00:50:35] Speaker A: Yeah, exactly. And she's probably catching up on saved by the bell episodes right now.
[00:50:38] Speaker B: I think so, too.
[00:50:39] Speaker A: Exactly. In Italy, it's, it's live right now. Right? They're actually airing it now and in Italy.
That's awesome.
[00:50:49] Speaker B: And I'll just say, as for like the book, read the review, but also like it. We just try to have as much fun as we can every, every issue. So if you want like a fun, fast paced adventure, read, you know, set in 91, check it out. You know, someone once said we were kind of like John Hughes meets the supernatural. Like a John supernatural John Hughes movie. And I was like, that's a cool. That's a great, great comic. I love that.
[00:51:21] Speaker A: So, yeah, that needs that. Like, the COVID of the trade needs to have that on there, like, straight. Michael. Brian. Michael Bendis on stray dogs was like, all dogs go to heaven meets silence of the lambs. Yeah. And I was like, yeah, that's. And that was on the COVID I'm like, that should sell anybody. So, yes, your. That quote should also sell it to anybody. I would agree with that, for sure.
[00:51:39] Speaker B: Awesome.
[00:51:40] Speaker A: Thank you. That's amazing. And then ripple effects, obviously, is available out there, too. So grab ripple effects, everybody. I had that on here. And then, David, you have a movie coming out, don't you?
[00:51:50] Speaker C: I do, yeah. It's called Blood for Dust. It's coming out April 19. If you're a Game of Thrones fan, it stars Kit Harington, Josh Lucas from Yellowstone, Ethan Embry, Steven Dorff, scoot McNeary. Got a great cast. And it's sort of a. It's a crime thriller set in, actually in the nineties as well, up in Montana. And it's sort of breaking bad meets Fargo. So, yeah, if you're a film fan, definitely check that out. Way darker.
[00:52:16] Speaker B: What range? I was just thinking, though, like, look at that range.
[00:52:20] Speaker C: Yeah, I work from dark, depressing, gritty, like, clinically insane to fun light. Clarissa explains it all. Saved by the Veil adventure series. So, yeah, I have.
[00:52:32] Speaker A: I go. I go.
[00:52:33] Speaker C: I work the spectrum.
[00:52:34] Speaker A: So that's how you do it.
And I'm going to read. I haven't read a full. Full disclosure. I haven't read ripple effects, but I want to read it now. And we're going to Jordan, let's get you back on at some point just to talk about ripple effects.
[00:52:44] Speaker B: Great. Yeah, that sounds great.
[00:52:45] Speaker A: I'm definitely great. Yeah. We won't invite David, though. David. David, you can come if you want. Just sit in the corner.
[00:52:50] Speaker C: Yeah, I'll eat ice cream. I'll eat ice cream.
[00:52:55] Speaker A: Producer, you can play producer in the corner.
[00:52:57] Speaker C: Yeah, yeah, yeah, I will. I'll totally do that.
[00:53:01] Speaker A: That's awesome. I really appreciate you two taking time out of your day to come on talk. The cabinet, it's available now from Image Comics and Syzygy. Is that how you say it? Syd public.
[00:53:11] Speaker B: You nailed it.
[00:53:13] Speaker A: And so issues. A couple issues are already out. And if you're waiting for the third issue, it comes out on April 10 when this episode drops and the trade comes out in October. If you're waiting for the trade, but yeah. Thank you so much. I really appreciate taking the time out, dude. Thank you.
[00:53:28] Speaker C: Thanks for giving us a space to talk and chat and go off on many tangents. Most appreciated.
[00:53:33] Speaker A: Yeah, absolutely. Absolutely. Enjoy the rest of your time and until we see you again. Again, thank you so much. Great.
[00:53:41] Speaker B: Thank you.
