Episode Transcript
[00:00:00] Speaker A: Welcome back to another episode of the Capes and Tights podcast right here on capesandtights.com dot. I'm your host, Justin Soderbergh. We welcome back to the podcast Ryan Brown and Kyle Starks. They have both been on separate episodes in the past in our 1st 170 some odd episodes, so check those ones out. But Ryan Brown is known for the creator, and he's the writer illustrator of God hates the Astronauts. He's also the co creator and illustrator on curse words. And 8 billion genies was, you know, New York Times bestselling author Charles Soule. They came on at one point to talk about 8 billion genies not so long ago. Kyle Starks is actually a 100 episode guest on the podcast. He is the writer of Peacemaker tries hard, Marvel unleashed. I hate this place and where monsters lie. Over at Dark Horse comics, Kyle also has been an illustrator for many different things, like rock Candy Mountain that come out recently and karate promotes as well as he did some, a number of issues of Rick and Morty, but together they are doing minor threats. Barfly. It's a spin off of the Patton Oswalt and Jordan Bloom comic book over at Dark Horse called minor threats. This is the barfly. Funny, funny, funny, funny, funny issue of comics. So check that out on July 10 from Dark Horse comics. But this is Ryan Brown and Kyle Stark discussing minor threats Barfly right here on the Capes and Tights podcast. Enjoy, everyone.
Welcome back to the podcast, Kyle and Ryan. How are you guys today?
[00:01:36] Speaker B: We're great. We're stoked to be here. We're buzzing with enthusiasm and excitement.
[00:01:42] Speaker A: I feel like all those puns are just gonna be, like, never ending with the two of you. First of all, you two are, like, funny people, so there's that. But, like, there's so many jokes that can go along with this. I mean, you get Ryan here with his frickin hat on.
[00:01:54] Speaker C: Yeah. You know, I'm currently swimming with disease, and I was. I was born out of excrement and rot, and I'm just crawling on all the things that you put in your mouth, like your sandwich and your rim of your glass, you know, as I do.
[00:02:12] Speaker B: Little fly guy.
[00:02:15] Speaker A: Yeah, absolutely. You know, jumping right into it like bar fly. So, first of all, I want to know how you guys got, like, connected to this. Like, how did you know? Obviously, we have minor threats that came out. You know, Jordan, Patton, and that crew obviously came up with that was it last year. And then we've had other ones that have come out of the world of minor threats. But, like, now we have barfly. Where did Barfly come from? And how did you two get connected to make, did they contact you? Did you, how did this come about? Who wants to jump in?
[00:02:44] Speaker B: So the character shit eater in the book, Bar fly, who's a little fly, wingless fly henchman in a punk jacket, is in the back, is in the background of several issues of Patton and Jordan's minor threats for his book and Scott. I never remember Scott's lost at Hepburn. Is that right? Yeah, right. Like, he just put him in the background and he just, in the notes he wrote shittier next to him. So that's Scott Hepburn's everything that, he doesn't really do anything. He just exists. So I guess there, I guess he acquired a sort of cult following amongst the minor threat fans. And Jordan Patton wanted to do more. He was on the list of things I think they wanted to do more of, so they wanted me to do it. It's sort of the short version. I heard that they liked me on, on another podcast, and so we both had the same editor. I'm like, well, if they want to talk to me, then we'll talk. So they asked me if I was interested. It was a very lovely conversation. They said all the things that creatively, you want to hear from someone who would be your overlord. And I sent them a pitch that they liked, and not soon after, they were like, Ryan Brown's interested. And we all like this. We all went, oh, like, Ryan Brown might do it. And we're like, oh. We're like, well, that's the list. Like, that's all that we want. That's the only person that we want. And I know for Ryan, it was far more complicated than that, but that was our side is that someone said something nice about me, and I said, oh, tell me more. And they said, do you want to do labor? And I was like, absolutely. And then they were like, what if, like, one of the best artists in the game and, you know, pure funny boy journey, like, this is going to be great. We didn't, we could have not even used the script. We could have just, like, improv'd it. It would have been great. So that was my side, which is not, again, different than Ryan's side, I think.
[00:04:32] Speaker C: Yeah, my side was, I've been working on the follow up to 8 billion genies with Charles Sowell for image, and Charles and I have one double sized issue finished. And we were making our progress, and I was like, look, man, I got offered to work on a book. I didn't even know Kyle was involved.
I got offered to work with Patton and Jordan on this book. I'm like, it's four issues. I don't know. And, like, so Charles and I had discussion about it. I was like, just. That seems like an opportunity that I should really take. And so, you know, I said yes. And then I found out that Kyle was doing, and I've known Kyle a long time because we have. We have mutual friends in common, and we're Midwest boys.
[00:05:24] Speaker B: Good midwestern funny boys.
[00:05:26] Speaker C: Yeah, pretty much. We've been on every panel I've ever been on.
Either Kyle or Zdarsky have been on it as well, because there are very few funny people in comics, and so they always put us on. The humor in comics panel is always Ryan and Kyle, and then insert an Evan Dorkan or a chip Zdarsky, and that's just over and over again. So, like, that's the. Most of our relationship has just been on panels together, and so, yeah, so when I found out he was doing, I was like, this. This would be awesome. And I think. I think my name was brought up because Tim Seeley is one of my closest friends, and he did the alternates, which was the first spinoff. And so I think that's how my name got in the mix on that.
But, yeah, yeah. Those waiting for an 8 billion genies follow up, it was going to come out at the beginning of next year instead of, you know, this fall, but barfly is awesome, so it's totally worth it.
[00:06:28] Speaker B: Yeah, it's a nice little break.
[00:06:30] Speaker A: Charles let you off, you know, like, let you out of his grasp. I mean, I know he were, like, in his grasp, so I don't know.
[00:06:35] Speaker C: You know, I don't think he's happy. You don't think he was particularly happy about it. But.
But, you know, we needed. We needed a, you know, a creative break to recharge our, you know, our batteries. But, you know, I say that, and I still freaking talk to him every single day. I was just on the phone with him right before this stuff. So.
[00:07:01] Speaker B: Firefly is like the. The soul brown palate cleanser. Like, just a brief reprieve.
[00:07:06] Speaker A: Yeah.
[00:07:07] Speaker B: So you can be reminded how good the soul brown combination is. Like, well, thank God Charles is still out there, is what they'll say. No, they won't say, that butterfly is great.
[00:07:18] Speaker A: That's very good. It's excellent.
It's so funny.
[00:07:21] Speaker B: I might get death threats from starlight.
[00:07:24] Speaker A: Yeah, exactly.
[00:07:25] Speaker B: Just like, I'll just get. Find a brick in my living room, it says lay off man on it.
[00:07:30] Speaker A: He's mine.
[00:07:32] Speaker B: Lay off, man.
[00:07:35] Speaker A: But.
[00:07:37] Speaker C: It'S a little bit of a change for me because I'm a jack of all trades, master of none kind of guy, you know, I do a lot of self publishing. And so, like, so I'm barfly. I'm drawing it and coloring it and, you know, now doing, like, promo stuff, promo art for it and stuff, it's so much. I mean, it's basically, it hasn't been any less work than doing an image book. And, you know, image is totally hands off and, you know, they assist you and give you the advice you need and, you know, get your. Get you on a schedule and deal with the printer and the distribution and all that stuff. But, like, it's a lot of, when you work for images, a lot of just finish your book by yourself and turn it in kind of thing. And then Barfly is like that again. Almost like Kyle and I are just, like, making shit up. And I'm like, I'm like, is this cool? And they're like, yeah, cool. And I'm like, all right, cool.
[00:08:39] Speaker B: You are doing somehow the same amount of work without. With all the parts that are, like, you usually have to do for image. Like, you don't even have to do them, but you've added other, like, responsibility.
[00:08:51] Speaker C: I can't let it go, man. I can't let it go.
[00:08:54] Speaker B: I think your hustle is just too strong, man. That's true. That's always been true of you. It's like, I don't see you as the type who's like, well, let me just, like, let me just, like, ride this one through and see what happens. I don't think you have it in you.
[00:09:06] Speaker C: I don't. Dude. Dude, I. There was a job back in the day.
One of my favorite things is garbage pail kids. Like, it's a very important thing to me. And so I'm putting a lot of my garbage pail kid into this, into this comic. But I got asked to do a four page garbage pail kid story for IDW. And I was like, absolutely. And they were like, we need it within two weeks. And I was like, well, I'm doing a monthly book. I can't do that. And they're like, well, that's it. And so I said, okay, I take. I accept. So I wrote and drew this four page garlic it's thing, which was like, a thing I've always wanted to do. Like, I was so excited and, like, I had the rush. So badly. The art was so bad, and then they're like, all right, you're gonna color it. I'm like, I just can't. And so they had someone color it.
[00:09:58] Speaker B: And I hate it.
[00:09:59] Speaker C: I didn't even get to see it before I went to press, and there's, like, things just so horrendously miscollar, and they threw it to somebody that would color it, you know, in a day. And, like, I didn't get any approval of it, and it's so ugly and terrible. And I was just like, that's my worst nightmare. Can I try again?
[00:10:23] Speaker B: Maybe this is gonna be, like, we need to block off, like, a four hour long conversation about frustrations. Me and Ryan, not you. We don't need you.
[00:10:31] Speaker A: Yeah, I can see you're in the background where we talk about.
[00:10:35] Speaker B: Because here's the thing. This is the difference between me and you, and I'm in therapy, and I don't think you are, is that the things that frustrate me when people don't necessarily do their job right, you're the type of person who goes, I will do it. Like, I will take on more responsibility. And I am very much the type of person who believes that people. People should have to do their jobs, and you should hope that they have their jobs. Cause they're competent. But again, I'm literally in therapy because of this, because, like, things are wrong, or things are. And I'm like, why don't they just do it the way they're supposed to? So there's. It's a very long conversation I'm sure we could have.
I'm very envious of people who go, I'm just going to do it because, you know, it'll be right. But I also go, it's so much more work. Like, it's not your job that's in my head. You know what I mean? Like, it's so much more work that I find it really frustrating to see people do those things. But also, like, you're happy with the end result. And I just go, those people could have done their jobs better, and I'm mad about it, you know?
[00:11:34] Speaker C: Yeah. I mean, look, it means that I get less done, right? Like, I could. I could sit there and just pencil pages and have someone ink them, and, you know, and then I would get, like, a much higher output.
But, like, it's just, it's. It's tough. Comics is a really strange thing because it's filled with creative people that love comics but don't necessarily know how to do a nine to five job and, like, show up to work every day.
[00:12:05] Speaker B: Yes.
[00:12:06] Speaker C: And, like, when there's, there's, there's so much gray area in wiggle room, it's like, well, I turned in late, and I'm still on this book, so I will just continue to turn things in late, and I will continue to, like, tell someone it's almost done when I haven't even started, like, weird stuff that wouldn't fly if you work at any normal job.
[00:12:30] Speaker B: Right?
[00:12:31] Speaker C: So, like, I'm in this place where, like, you know, I fired multiple colorists that I've worked with over the years. And it's not because I'm, like, militant and crazy. It's because, like, you're late again. You're late again. You told me yesterday you have this done, and then you're not even halfway done. Why didn't you just tell me yesterday that you were halfway done and then we could have talked about it. And it's like, that keeps happening in this industry. And you see, like, people get into the industry and then they disappear and they get in, disappear and stay in are either really, really good that an editor has to put up with it, or they're, you know, professional because it is your job and, you know, they're super reliable.
[00:13:14] Speaker B: You know, when, when I think best early advice I got, which I think is maybe advice people get for almost anything, is that to be successful in comics, you want to be two of three things. Be nice, be fast, be good. And I'm like, well, I can be nice, and I can be fast, and I will try to be good.
[00:13:29] Speaker C: Yeah. And the other flat out, you solve an editor's problem. Right? Like, in editors, an editor gets in trouble from the higher ups if the books are late, right? And then their job is harder if the books are late. And so, like, I remember, like, being in high school and, like, comics would come out and be like, this art is so bad. Why does this person keep drawing Marvel books? And it's like, oh, I know why. It's because they made the book still sold, and they solved the editor's problem. The auditor didn't have to chase them around like they just did. They did their job like they were supposed to, and quality be damned. Like, just, it's done.
[00:14:10] Speaker B: Related. Unrelated as we take over this podcast.
[00:14:13] Speaker C: Yes.
[00:14:14] Speaker B: I love art Adams. Like, art Adams was my favorite when I was little.
[00:14:18] Speaker C: Yeah.
[00:14:18] Speaker B: And I would always go, man, he gets so tired at the end. Like, he gets so tired. He did. And I was like, no, he just was rushing to reach.
[00:14:25] Speaker C: Now I know, like, the true story.
[00:14:26] Speaker B: But I was like, oh, he's so tired from working so hard, and now I'm like, oh, he's just trying to get that deadline. Those pages are rough because he's just trying to hit the deadline.
[00:14:35] Speaker C: Yeah, yeah. Oh, he's tired.
[00:14:38] Speaker B: He's so tired. It's hard to hold the pencil.
[00:14:41] Speaker C: Art Adams famously, uh, does every issue in one day, and so he's, like, delirious from lack of sleep. By time, he's drawing page 22.
[00:14:52] Speaker B: It just. It looks like it's. That's a dinosaur shape. It looks like a nugget. It looks like a dino nugget instead of a dinosaur.
[00:14:58] Speaker C: Yeah.
[00:14:58] Speaker B: I love it. I mean, I'd bet this guy has other questions for us.
[00:15:03] Speaker A: No, I read that book with Dino nuggets as the characters. I feel like it was a book that you guys would write here.
[00:15:08] Speaker B: No, no. If art Adams was drawing, it would be great.
[00:15:12] Speaker C: Yeah.
[00:15:13] Speaker B: I write it. Give me a call. Don't make me do that.
[00:15:18] Speaker A: Yeah, exactly. But this book, I mean, yeah, you know, you guys both are talented writers and illustrators and stuff like that, too. So you guys have your. But you guys are both obviously talented. The other thing, too. And when I saw this, I'm trying to put this as wording. When I saw you guys doing this book, like, when it was in previews or when I got the alert saying that this book was being done by you two, it was like, oh, cool. Kyle Starks to write this book. It's awesome. I love minor threats, and I love the idea. And then I saw Ryan Brown. I'm like, holy shit. Like, I think a dynamic do, in my opinion. And it's so much like minor threats, but also, it's its own thing. You know what I mean? Like, it has its own, you know, stands on vibe.
[00:15:57] Speaker B: Yes.
[00:15:58] Speaker A: Yeah. Vibe.
[00:15:59] Speaker B: Yeah. You know, I do think I. I think, and I'm going to. I'm hoping it's the same for sort of Ryan's separate, you know, fandom is that. I know there was very much, like, a sort of Reese's pieces cup reaction to us, to us working together. Like, oh, you're two. My two favorite flavors together. And I'm obviously thrilled about it because, like Ryan said earlier, I do think it's a short list of people who are consistently funny because it takes a certain type of person and you have to be serious about it in a way that I think people don't understand. So I know for me, like, I, like I said when they said Ryan, I'm like, that's the list. Like. Like, don't give me a number two. Like, in this case, it's like the draft board. You know what I mean? Like, let's not. Let's not worry about number two. If we could get number one, like, there's no reason even talk about it. So I know that my fans were very excited, and certainly I was, too, in that regards.
I just did a panel, sorry, Ryan, with Patton and Jordan, and they were talking about how all the sort of, like, spin off worlds sort of tie together, and there's that sort of, like, here's the sort of real life, sort of earth view of these superpowered people as human beings, and I think that really ties through all of them.
And there's some other stuff. You know, it's like the meta story, and it's like, oh, we want to do superhero stories you haven't seen. But I do think, like, my big takeaway from hearing multiple people talk about it once was that these are, like, very character driven sort of superhero stories, or supervillain in the minor threats verse, mostly supervillains, but two thirds. We're two thirds supervillain.
So I think that's really sort of like, the thing is that they are all tied together in that sort of unique superhero sort of meta story. Like, that's not deconstructionist in an insulting or satirical way. So I can see it. Like, I. I look at our book, and Tim's book, the alternate, which I think is great fun, and that first trade, which I think is great fun, and they all, to me, do feel the same.
I would say if. If anything, sort of distance us, it's that Ryan's arts ridiculous. And that's not saying it's better. I'm not saying he's better than the guys who did those other books, but it's visually so active.
It just has a very distinct aesthetic feel to it that the others don't necessarily have, which isn't me diminishing them in any way, because I think they're both great. It just looks different to me. It looks crazy. It looks crazy awesome.
[00:18:33] Speaker A: To me, it looks like a Ryan Brown book, which is insane, right? We are weird.
[00:18:38] Speaker C: I was a little tentative with going at it that way, and so.
[00:18:44] Speaker B: You.
[00:18:44] Speaker C: Can kind of see it in the first couple pages of issue, one where I'm not necessarily putting as many, like, jokes and gags in because I was trying to feel out what they were expecting from me.
And certainly, like, my coloring is more rendered than they have on minor threats or the alternates. And so that's not necessarily a flavor for everyone. So I was, you know, I was half assuming that I was going to have to do just, like, a single cut line in all the rendering instead of, like, a painted kind of thing. But everyone responded really well to it, so, you know, it, it feels different, but also, like, Chris Mittens work felt really different on the alternates, and so, but it's in, like, a very different direction than mine.
Like, you know, Chris's is about line and shape, but it's not much about depth. And so for me, like, figuring out, like, I'm always trying to figure out how to manipulate color to make my drawings look better than they are, like, how to push space better than my scribbly lines do, you know?
And so, yeah, so, like, figuring out the look of the book and then it, like, I had to kind of find where this was again because with 8 billion genies, I was doing different styles and, um, like, a different, like, creatively, like, I emptied me out. And so, like, I spent a while not drawing to, like, figure out how to draw again. It was a, was a weird experience, but, like, working with Kyle, you know? Yeah. My fans are also super excited because I think our fans, there's the Venn diagram, there's a big crossover, and, you know, because we're, we're both, we're both writer artists.
Like, your scripts feel like you're thinking of, you're thinking visually when you're writing it. And so that, to me, like, is great for me to riff off of because, like, there's room to play, there's openness, but then there's also, like, it's almost like you're writing for yourself. You're writing the information that you would want to have if you were drawing it. And so, yeah, and I think that that, like, is a nice breath of fresh air. It's very different than, you know, all the writers I've worked with. The scripts feel very different than working with someone that actually is an artist as well. So it's a nice change of pace, and it makes, like, what we're doing very different than what I do with Charles, you know, just based on, like, your, you being visual in nature and, yeah, so I don't know, it's, yeah.
[00:21:37] Speaker B: That goes both ways too, because, like, you can, like, my thing, my thing is that I always, like, I do see it, but I know for artists, for comic artists, that they will see a better angle, they'll see a jauntier angle, or they'll do something.
And you certainly do a ton of that, especially highlighting, you know, like, pee pants panels as a focus, which is very funny. But, like, you, you understand how story, like, you understand how story works because you're doing your own, too, so you get the beats that matter and you get the direction. I've always found, like, with Eric Henderson, who's doing more right now, but, like, Chris Schweizer, the people I've worked in the past who are cartoonists, it's always easier work for me because they, they're looking at story and comics the same way that I do, which is, like, awesome.
[00:22:25] Speaker C: Yeah. And this, I mean, this, this is a, like, for me, I always, it's always important for me to tell the story without any words. So, like, you can read the unlettered version, and you can tell who's the bad guy. You can tell who's good guy, who's doing what, where they are, who the relationships and the characters are. Like, I always try to tell the story without the words visually, just because that's the fun of comics. And so, but with this one, you know, our main character doesn't speak like he has, like, a bug telepathy. So you can talk to the bug dudes and, you know, the entomologist, the bug super villain that made him, like, they have, like, a psychic link so they can talk, but for the most part, he's silent and he doesn't have eyebrows or pupils or much of a mouth, you know, so, like, in terms of, like, the things that you act with visually, like, so much of that got stripped away. And so now it's just, like, I look at the early drawings I was doing of him, and he's really stiff. And then, like, I slowly got into him being made out of rubber. Like, he's just made out of rubber. He's just always, like, you know, just doing, you know, getting bouncing around on his head and, you know, flipping around and made entirely out of rubber. So, you know, I'm not going to, I'm not going to go back and redraw. So a couple pages in the shape. But, you know, but I want to.
[00:23:58] Speaker B: They look great, though. They look great. You don't have to.
[00:24:00] Speaker A: No, they look, they look, they look wonderful. And that's so obviously, um, there's the, I don't want to give away too much of humor in it because I want people to be surprised about it. But this one scene where he's pointing at a laser and the wording it's on the page is absolutely perfect.
[00:24:15] Speaker C: Oh, what is it?
[00:24:16] Speaker B: I don't remember.
[00:24:16] Speaker C: It's laser pointer, and he's just doing.
[00:24:20] Speaker A: It, and it says laser pointer on security.
[00:24:23] Speaker B: Laser.
[00:24:24] Speaker C: Yeah. So I started, I started, I used to do sound effects like that and got these astronauts all the time. And then they, you know, they work really well in comedy, but then when you're trying to be serious, they can kind of pull you out of the story a little bit, maybe. You know, I mean, you look at comics. My least favorite comics are the comics that try to be movies and not have. Not have sound effects, not have, you know, thought balloons or anything like that. Like. Cause I feel like you're, it sounds like, it looks like you're watching a silent movie. Like you're taking part of the language of comics out of it. But when you do, like, that really deliberate sound effect that's just in there for a gag and to, like, help the storytelling like that gives it a certain vibe. It's not for every comic, but for this one, especially since he couldn't speak, I'm like, I'm just going to start being, like, deliberate or, like, have the sound effect be a one two joke, like, with the thing.
And so, like, the pages end up being really dense and, like, I think they work by themselves. Yeah, but I don't know the experience when you come from the outside of you, if you read the barfly trademark, would you just be like, there just no way.
So many of this kind of joke over and over?
[00:25:46] Speaker B: No. You know, it's funny because, like, I do the sound effects in the stuff that I draw, and I notably did it in, like, the peacemaker book, but I kind of pick and choose, and for this one, I was not doing it, and you started doing it, and I'm like, to me, I'm like, yep, that's the choice. I just wasn't going to do it because it seemed like it was too much. But you use it in such an emotive way. Like, it's not just like, a funny sound effects, and then you use, like, the, oh, they're almost captions. You know what I mean? In a lot of places, they're just captions. It's just very clever storytelling for a character who can't talk. But even if he could talk, if they were still there, like, they're very funny, you know, like, there's no reason not to even do them if he could have talked. But it's such a clever solution, and that clever solution adds so much to, you know, the visual nature of the book.
It's great. I think it's smart. It's so smart in smart guy stuff.
[00:26:37] Speaker A: It's funny how you mentioned that there's not as many, like, really gaggy jokes in the first few pages, but then, like, there's a spot where it starts to hit it. There's, like, posters on the wall that have, like, movie names. They're all jokes and those kind of things. I was picking up on those, and that's one of those funny things is, like, I look at and read different people's comics different ways. And when I'm knowing this as a Ryan Brown comic illustrated, then I'm always, like, looking for those things in the background because that's some of those things that you just do that you put in those. Those jokes that are in there that, like, someone who's just skimming through to read the comic might not pick up on.
[00:27:07] Speaker B: And the thing about is definitely a two reader, because it's like a where's Waldo? Like, every panel is the where's Walt? Like, where's the joke? And I.
It's pretty. I feel like it's gonna. It's gonna get Ryan Brain put pressure on it, but he's already done issued three, so, you know, but it is like, it is like a weird wall, because I, again, I've said to Brian, I've said to Ryan, and I just said that once. I have to look at it to make sure, like, it's right. And then he sends in colors, and somehow I see a joke I didn't see before it was colored. So I'm like, oh, there's even more jokes. Like I said, miss, there's even more jokes. I love it. I think it's just such a, it's such a relentless display of creativity and humor. And I think it's a really impressive undertaking by Ryan that I think you were gonna. I think people are really gonna be drawn to. I think we were really gonna like it.
[00:27:59] Speaker A: I mean, by both of you. Because I feel like it's one of those things that. Outside of dark horse. Outside of dark horse or these, you know, independent publishers, where's a story like barfly able to be told? Do you mean, like, you're not doing this story at the big two or, like, things like, no, no.
[00:28:14] Speaker B: You know, here's what I'd say to this. That's, in that, in that realm is that if Patton, if literally Patton and Jordan didn't do minor threats, this wouldn't exist because Patton and Jordan did it. They were like, the publisher, like, oh, it's okay. For you to keep doing this. Cause it did well. And if the odds. There's a lot of indie superhero stuff that it just doesn't get traction because there's not. Because there's so much of it. Cause I think there's less than there used to be, but there's no, like, validation for why to pick it up. Right? People are like, oh, Patton Oswald. Like, let's check out this thing. What Patton Oswald did. And it was great. Like, minor threats is great. And then they did it again.
And I said this, if alternates wasn't good, I don't know how quick I would have been to be like, I want to do barfly also, just. They had a track record of making something good and a lot of stuff. I bet there's a ton of indie superhero stuff that's great that no one ever saw. And that's the nature of making things. And it sucks. But really, the reason why we can do this is because Jordan and Patton did it, and they did it well enough and they made enough money that they're like, yeah, keep going. Like, they're not. No one's going to question Patton and Jordan for at least another year. They get. They have to do, like, one big stinker, maybe two stinkers.
[00:29:31] Speaker C: Yeah.
[00:29:32] Speaker B: And it won't be barfly. It won't be barfly.
[00:29:34] Speaker A: They're adding a murderous row of talent, too. It's like alternates. You add Tim stealing. You know, you're like. And then you guys are on this one. It's also like, you're not stopping that way either. You're adding more, you know, talented people to a book that already has talented and funny people on it.
[00:29:48] Speaker C: And.
[00:29:49] Speaker B: Yeah, and to the. To their credit, I'm sorry, Ryan.
[00:29:51] Speaker C: No, I'm sorry.
[00:29:52] Speaker B: To their credit. You know, Patton. Patton said to me, he's like, I'm. Do I want to do these like I do my tour posters? I wanted people I like to do their thing. Like, that's even. That is for us creatively. Like, Ryan could be. Ryan could be doing his own thing even outside of Charles. Right? Like, he likes working with Charles. That's why he's working with Charles, and he likes the outcome. But, like, we can do whatever we like. Humbly, I say, yes. Here's the thing. For me and Ryan, we could literally do what we wanted because I did sex cast on, you know, he did blast furnace. We could do, if we want something to exist, like, we can do it. And that's a benefit that we have as cartoonists. But for someone to come along and say, hey, I really like your work and I want you to do what you want to do is super empowering.
And it not only that, we go, okay, if you, you clearly know who we are and you are familiar with us and you like us with that familiarity, like, we want to do a good job for you. Like, because we want you to go, this is my favorite book by you guys. You know what I mean? Like, it's, it's, it's a really rewarding place to be asked to sort of step inside. And it only works because I listen, it's because it's Patton. I mean, it really is like, Patton's name has so much power here, but for creating an environment for Ryan and I, very few notes, I would say. Would you agree on the extreme, extreme low end of notes?
[00:31:18] Speaker C: It's like, that's also what we want.
[00:31:19] Speaker B: We don't want to be harassed. We're trying to do this great thing for you and we're trying to do the best we can. And hopefully the first three issues are magnificent. Hopefully I land it in issue four and it does what we want to do, but it's a great first three issues for sure. I think that we're doing it, and I don't think Patton could ask for more. And if you like meta superhero stuff, I don't think you could ask for more.
[00:31:45] Speaker A: And I think from the beginning with Patton is one of the people asked me, Patton and Jordan, or have been on the podcast to talk. And I was like, people, like, what was that conversation like? And I was like, well, the truth of the matter is everybody knows Patton from movies, tv, comedy, all that stuff. But like, let's be honest, this dude loves comic books. It's not just a person who has the ability, because most famous people, if you, not most, I said, there's famous people who could just get into something else by just because they're famous. They could just get into that other industry or whatever because someone's going to give them a, give them a shot because their name is on it. But like, no, Patton loves comic books.
[00:32:21] Speaker B: And so does Jordan.
[00:32:22] Speaker A: Yes, Jordan loves comments in that beginning minor threat series was so successful, not just because of the names attached to it and the quality of it, but it's because it showed a love for comics in that first series and it allowed you guys to then do this stuff. Who all you guys also love comics. Weirdly, I think.
[00:32:39] Speaker C: I think also, I mean, you're in.
[00:32:43] Speaker A: It for the money.
[00:32:46] Speaker B: I think also there's a lot to be said that there are examples of people who come from other medias who come to comics that have varying degrees of success, but they also sometimes have ulterior motives that are bigger than comics.
Maybe there's a lot of examples of people coming in, but, like, this is a rare exception where they did a really good job. There is no ulterior motive. They just wanted to make the fun comic that they wish existed, which is always the best motive for telling any story in comics, I think. And I think that really comes across. I mean, that those guys, I think, I think Jordan just got the final issue of the X Men, the full X Men run. He owns all of, he owns all the X Men. Like, that's fandom, you know, so, yeah.
[00:33:28] Speaker A: All that was in play.
[00:33:29] Speaker B: And of course, you know, Jor Jordan Patton gave me a poll quote on my second book on Rock Candy Mountain. He gave me a poll quote you know, a million years ago. So there's also that, like, I've kind of like, he likes comics. Like, he sincerely likes comics and he's like my stuff for a long time.
But yeah, you can tell, you can tell those dudes just like comics. They just like comics a lot and, and they're, they're recreating that love and we get to play in their little sandbox, which is fun for us. Yeah, fun for me.
[00:34:00] Speaker C: I want, I want to also like, give a ton of credit to Scott Hepburn.
[00:34:03] Speaker A: Yes.
[00:34:04] Speaker B: Oh, yeah, sure.
[00:34:06] Speaker C: Like, I enjoy, I enjoy, you know, Patton very much like, you know, from, throughout his career and, but, but I, I'm a big Scott Hepburn fan and that was, that was really like why minor threats was a must read for me. And what he did was, I was so jealous reading that book. I was just like, oh man, he's doing like all this kind of stuff I like to do in ghanaian's astronauts, but he's doing it like really well. Like the shapes are incredible and the action and dynamism was incredible and the designs were just so, so fun. And I was just like, I just, just reading that, I was like, man, dude, like, this is, this is my dream to like get to work on something like this. And, you know, and so I actually, I had, I had Scott do a goddess astronauts cover for me and then I did a cover for the alternates and that was the first time I got to meet, you know, be in this world a little bit and like get them, get to talk to Scott even more and, you know, talk to him about working with Jordan and Patton and, and then talking with, you know, Celie, about working with Jordan and Patton, I was just like, you know, this. This is absolutely something that I want to be, you know, a part of. And then, you know, Scott had said, yeah, maybe down the line, you'll be able to do something. And then. And then this came up.
[00:35:35] Speaker B: So here we are.
[00:35:36] Speaker C: Yeah, I'll say.
[00:35:36] Speaker B: Also, like, outside look, because I have not talked to. I've not had very few interactions because it's clear how much those two guys trust him and even rely on it. Like, he's very, very involved. He's the third one. He really is the third, like, minor threats guy.
[00:35:50] Speaker C: Yeah. I mean.
[00:35:51] Speaker B: Yeah, he.
[00:35:52] Speaker C: I mean, he really. He really is. Like, this is. This is his baby as much as it's theirs. And, you know, like, from a design standpoint all the way through, like, the dude is so talented and works so hard, and he's. He's super, super smart about design and about storytelling, comics, and, like, I. That was a lot of pressure for me to be playing in his sandbox, you know, visually, especially with this character who he loves. Like, he loves shittyater. And it's like. It's a. It's just like a. You know, I don't even know how many. When I. When I first started drawing it. Like, I did initial drawings off of looking at them in the background of pages of minor threats, and, like, I got his design completely wrong because, like, he was only this big in the panel. Like, that's the only time you could see him. And so. So, yeah, so I don't even know how many times he's actually drawn him, but, like, he loves.
[00:36:51] Speaker B: I think he's three. I think three times he's in the book. I think he's in three backgrounds.
[00:36:55] Speaker A: Yeah, well, now, he did the COVID of this issue. One at least, right?
[00:36:59] Speaker B: Every.
[00:37:01] Speaker A: Yeah. So he's driving on the covers now. He's drawing more on the covers than he did ever. Yeah.
[00:37:07] Speaker C: Yeah, it's great. And, like, those are my big reference photos now for, like, the characters, like, looking at his covers, the book that I'm drawing, what do they look like? Oh, wow.
[00:37:15] Speaker B: I'm really glad you said something, because I don't think Scott gets enough credit in that, in how important he is to the minor threats universe. So, I mean, I feel like a dickhead for not saying it, but it's true.
[00:37:25] Speaker C: Right. You know, it's just. It's awesome.
[00:37:29] Speaker B: Yeah. I mean, he's, like, even, like. Because we're sort of, like, we don't get a Bible, per se. But those three guys, you know, they're. Who answer the questions, and it's. Oh, Scott is always there, and you can tell, like, they really respect him, and they really, you know, listen to him, which is rare. Which is super rare.
[00:37:49] Speaker C: Yeah, well, and then, like, I don't.
[00:37:50] Speaker B: Listen to Ryan at all.
[00:37:51] Speaker C: No, I don't listen to you either, man. We just. Yeah, we're in our own little pods.
[00:37:56] Speaker A: This is actually the first time they've ever met.
[00:37:58] Speaker B: No.
[00:37:59] Speaker C: Yeah. Like, it's. It's weird because, like, I'll have to draw, like, some of the continuum or, you know, the searcher or, like, some of these characters, and I have to use Scott's drawings for reference. And they're all. Everyone looks like they weigh 300 pounds, and they're like, you know, just this. And then I draw them, and they're just like, you know, this is an ad hoc.
[00:38:26] Speaker A: The first drawing of barf of sheer was actually just Ryan with that hat on.
[00:38:30] Speaker C: It was just me sitting there. Yeah.
[00:38:34] Speaker A: I still think that the book should have been called shit eater. I don't know why barflies, like, well.
[00:38:38] Speaker B: As someone who tried to do a book called fuck this place, you know, we've learned a lot, and Barfly is such a good solution to that, too.
And for what it's worth, the pr person here, I don't know if I'll get muted. I might get censored. Is that at San Diego, we're doing a very well. Ryan made the variant cover. We're doing a very shitty variant cover with glow in the dark for San Diego. That's gonna be very cool. So there will be, arguably, the proper title book out there.
[00:39:05] Speaker C: Yeah.
[00:39:08] Speaker B: I love barfly, though, as. As a solution to not using shit eater. I really think it's super clever, and I think. Yeah, Jordan came up with that.
[00:39:15] Speaker C: It seems like it was a visual pun to begin with. Like, Scott was drawing the fly at the bar. Right? Like, that's probably where it came from.
[00:39:22] Speaker B: He's a bar fly.
[00:39:23] Speaker C: Yeah. Right.
[00:39:24] Speaker A: It's a bar fly. I mean, obviously, Ryan, you've been used to drawing bars recently in.
[00:39:29] Speaker C: I know. I'm back in it. Yeah, I'm back in it.
[00:39:32] Speaker A: And you know what the bar stools look like. You know what to drink. You know? You know, and you're. You're not. You're not a fan of bars at all, are you? You know?
[00:39:39] Speaker C: Yeah. I mean, I am. Yeah, sure. But, like, I mean, I had to. I have to still try and figure out, like, the geography of the lower layer. Whenever I draw it. There's a little overhead map in the back of the minor threats trade that I use over and over again to make sure that I'm locating things in the right place versus in Apelini genies. I base that bar off of a bar I know well in Chicago called the empty bottle.
And I do this a lot when I'm working. I don't use photo reference, but I use my sense memory of, you know, what it felt like or looked like. So, you know, I do that when I try and draw, like, celebrities or characters or stuff. I usually just base everyone off someone I know just to help earmark what it looks like. And so on this, I'm having to earmark Scott's drawings instead of like, my own experience there.
[00:40:37] Speaker A: That must be, like I said, we talked earlier about being not, you know, your own creator owned book. That's like your own invention. But, you know, there is that mixture in this, though. There is that referencing Scott stuff, Patton stuff, Jordan stuff, all that stuff, and then also bringing your own little spin to it. And it does feel that way. It feels like it belongs in the minor threats universe. But it also has this, like, you know, it also could be standalone. You might not get the reference, you might not get what's going on if you just read this book. But you could, I think you could read issue one and not think that you really needed to know minor sets. We highly recommend that you read all of it because it's excellent. So do read all of it. But, like, I feel like it is, could be a standalone thing.
[00:41:16] Speaker B: I think. I think you could 100% read barfly without having read the other things. It's all because the great thing about sort of meta story superhero stuff is it's very archetypical. So, like, you're going to recognize, oh, this is gridiron ghoul is the big physical goon, right? He's the, he's rhino. Like, you know who he is. When the superheroes show up their archetypes, like, you know, sunburst is basically green lantern, right? Like, it's all there. So I 100%, no one needs to read. Listen, if you're on the, if you're trying to decide, oh, I wonder. I love Ryan and Kyle, but I haven't read any minor threats. I guess I would no fight that urge. Just pick it up. It's going to be, it's so good, and you're gonna have so much fun. I don't think there's anything, there's nothing you need to know. Like, when you see the superheroes show up. You know, they're superheroes. And we see the bad guys. You know, they're bad guys. And that's the great thing about superhero books, is that it's pretty straightforward. And we're adding, you know, the flavor and the character to familiar things in a unique new way.
[00:42:13] Speaker C: Yeah, I think. And then trying there. You know, there are obviously characters from minor threats that appear in this and have roles, but for the most part, I'm really like, the references to minor threats is in the details. It's in the backgrounds. It's in Frankie.
[00:42:34] Speaker B: Frankie's in there a little bit there.
[00:42:36] Speaker C: Yeah, that's a, you know, that's a. That's a big one. But, you know, you don't actually have to know who any of those characters are. They're not part of the story. We're basically focusing on our own things. And even Sunburst, who's, you know, the main hero in this, he's. He's in minor threats, but I don't think he has a line of dialogue.
[00:42:57] Speaker B: He does not. He does not.
[00:42:58] Speaker C: Yeah. And so I had to get Scott to do a drawing of, again, like, to show me what he actually looked like because he's just like this, you know, in the background at an angle, too.
[00:43:08] Speaker B: I think he's only flying at, like, a weird angle, too, most of those panels, so, yeah, even Frankie. Like, the only thing you need to know, like, you don't need to know that. It's just. It's a bartender. It's a likable bartender. It's like. It's just an archetype, and it'll probably. I would. I don't want to speak for. For those three creatively, but I bet it's a while before you have to know anything about anything else. It just works better. Like, Jordan, like, obviously, in volume two of minor threats, there are things you need to know from the first one.
[00:43:36] Speaker A: Yes.
[00:43:37] Speaker B: Right. But in the alternates, like, searcher shows up, you don't need to know anything about searcher. Searcher doesn't do a whole lot in minor threats, if we're going to be perfectly honest, relatively thin character, and I think intentionally so.
And I think that's the way to do it. Like, everything touches, but nothing necessarily affects each other in a way that, you know, you need continuity or you need to know what's going on. And I think that's the most. But I think you can read just the alternates and have, like, a really good time. Yeah, I really. I really like the alternates. I can't say it enough. I thought they did such a good job. And that first volume is so good. They're really fun, and it's such. It's really kind of an honor to get to be asked to join, like, those two quality works, and we're nailing it. We're killing it.
[00:44:22] Speaker A: I mean, it almost feels like they're almost Easter eggs.
[00:44:26] Speaker B: You know what I mean?
[00:44:26] Speaker A: It's almost like Barfly has Easter eggs for the minor.
[00:44:28] Speaker C: If you follow all of it, you're.
[00:44:30] Speaker B: Rewarded because you'll go, oh, it's Frank. And I think gridiron Ghoul also is, like, in the background of panels because they thought, like, that was suggested, is to use gridiron. I don't remember why that was suggested, but I think he's also just in the backgrounds of the lower layer is the bar. Burger bite is in volume one, which is where shitty to work. The burger place. He works. So everything's kind of tangentially, like, near each other.
But I think that's a fun way to. I think that's a fun way to do it. It's like early new universe. Like, you know, they're all in the same place, but not until issue 40 or until Nam or the pit happens will we see them interact. Right.
That's a new universe reference in case you guys get that one. All right, good.
[00:45:11] Speaker C: I just. I just hope that some of our garbage background dudes end up showing up in minor threats.
[00:45:16] Speaker A: Yeah, that was an issue of Barfly.
[00:45:21] Speaker B: Yeah. I hope weird. I hope weird guy at bar gets his own book at some point.
[00:45:25] Speaker A: Called weird guy at bar guy for free.
[00:45:28] Speaker B: Yeah.
[00:45:30] Speaker A: You need to do, in two weeks, four pages.
I mean, so this is cool.
[00:45:38] Speaker C: I guess.
[00:45:38] Speaker A: So the Maya threats is out on trades, you know, and so you can read those if you want. But this comes out, the first issue of this comes out July 10 at local comic book shops everywhere. And so it's fun. Again, you don't need to read anything else, but again, we highly recommend it because it's worth reading.
You don't need to, but, like, maybe pick them up at the same time. Maybe grab the issue of this and a trade of the.
[00:46:00] Speaker C: Yeah, I think. I think that minor threats four comes out, like, slightly before minor fret. Minor threats to number four comes out slightly before Barfly one.
I don't think. I don't think at the same time, because I'm. I'm doing two signings in LA for Barfly one, and they're also billing them as minor threats for signings, but I don't think they come out on the same day.
[00:46:23] Speaker B: They'll probably have them, though.
[00:46:24] Speaker C: Yeah, sure.
[00:46:25] Speaker B: Yeah.
[00:46:26] Speaker C: But that's. That's, you know, all the minor threats stuff. And many series are all four issue. All four issue little things. So they, you know, they. They fit into one trade, and they play. They play well, you know, beginning, middle, and then by themselves. So, like, you can. Right now, you can get minor threats one, and can get the alternates trades. Both those are out. And then the single issues of minor threats, too, are coming out now.
[00:46:48] Speaker A: I think July 24 is the. As the date for number four.
[00:46:52] Speaker C: Okay, so we come out before then.
[00:46:53] Speaker A: Yeah, yeah.
[00:46:54] Speaker B: They'll have them, though.
[00:46:56] Speaker C: I'm sure they will.
[00:46:56] Speaker B: Yeah, they'll be at the signings.
[00:46:59] Speaker C: Yeah.
[00:47:00] Speaker A: I will say, kyle, I'm a big fan of Kyle. Kyle Starks, as a writer, as an artist, as well, but as a writer. But you're making it very easy to, like to buy your books with the artist you're paired with. Just to let you know, you're getting.
[00:47:12] Speaker B: Like, well, I'm being. I've been super, super lucky. I don't have any say over that. I know.
[00:47:18] Speaker A: I'm thinking, like, okay, Steve Hugh, and then Peter Kowalski, a huge fan of him. And then, like, oh, Jesus, over at.
[00:47:25] Speaker C: With.
[00:47:25] Speaker A: With Marvel unleashed was. Was phenomenal. And then, yeah, you're doing more where monsters lie.
[00:47:31] Speaker B: You know, that's theater again.
[00:47:33] Speaker A: Yeah, we shifted the brain.
[00:47:35] Speaker B: Galan on Franklin on pine, and Merrimack is on pioneer. Merrimack and barfly.
Not diminishing those other artists, because I think they're the two books that are worth getting just for the art alone. Like, Bran and Ryan did such a. Like, I could not be there. Like, it's just such. It's such incredible art. Like, I'm just additive in some ways.
That's very kind. We're doing the best we can. I will say. Where is it?
[00:47:59] Speaker C: What is getting in?
[00:48:01] Speaker A: Well, people don't know that I'm not a fan of Kyle Starks at all, because these two books, there are a poll quotes on the back from my reviews.
[00:48:09] Speaker B: Hey, nice.
[00:48:11] Speaker A: So I'm like, oh, okay, look at that. There you go. You know, Peacemaker and, you know, Marvel unleashed are definitely worth picking up as well. But, yeah, I'm excited. I heard were monsters lie? Because I think when we talked last time, Kyle, it was about where monsters lie, and it was part of the discussion. And I'm like, oh, I want more from this universe. And I got that email volume two.
[00:48:29] Speaker B: In October, they just announced I'm doing Lobo with Kyle Hotz. And Kyle Hotts is crazy good. I've been very lucky. I mean, it can't be said enough. I'm just very, I'm very lucky, I'm sure. I would like to believe, since I'm doing things halfway well, that, you know, we're drawing a higher caliber of artists. But I haven't had a stinker yet. I haven't had a stinker yet. It's unbelievable.
[00:48:50] Speaker A: Well, before issue four isn't done from this series yet, so we'll see how that.
[00:49:00] Speaker B: Sticking the landing is hard, I will say, and, and like I said, ryan brings, Ryan brings so much. It adds the challenge to me.
Just because the arts so good, it sort of makes it more intimidating for me to do the job. Honestly, I think, like I said, even I, when I write these stories, there's a certain roller coaster I would like for people to go on right when I, in my beats. And, and for this, you know, the first issue decides a lot. Sometimes I go, oh, this artist will need a little bit more handholding. I need to be clearer with descriptions or I can do less. The first issue, like, in many ways affects the next issue, which I kind of wish it didn't, but Ryan came in, and it's so big and it's so loud and it's so much like, it puts, it puts a lot more pressure on me than some of these other creatives I've been working with. So it, so because it's like, now it's relentlessly funny. Like, before, it was like, it'll be mostly funny. In my script, it's mostly funny.
[00:50:02] Speaker A: Yeah.
[00:50:02] Speaker B: But with Ryan's been all funny, like, like, just loud funny.
That it does put pressure on me to do that ending makes it harder, but you hope you do the thing. So even if it doesn't, even if I do a bad job and it will be me, like, I want to make sure that's perfectly clear.
If it doesn't land, it's not going to be Ryan's fault. It's my fault.
[00:50:26] Speaker C: Well, no, it will still be my fault because, you know, if I'm working with someone and they're not doing it right, I have to take over. And so if you deliver a garbage for this, you and I just draw it, I'm like, well, who cares?
[00:50:40] Speaker B: Well, what I mean, no, what I mean is that is, is like, there's, there's volume to emotional beats. I'm not, I'm not explaining something. I'm not explaining something to Ryan. He knows this. Whereas you go, this is a little, big moment. This is a little, big moment. But this big moment, it had, like, if this lands it with the whole book, it changes the whole context of the book. Right. And I don't want to reference another example, but I did a story and creep show with Fran Galand, who drew my Piney Merrimack book, and I had this scene, and I'm like, this is. This is the shot. Kids on bikes, they're in the woods, are being chased by vampires, and certain things happen. And I did not know who the artist was, but I was like, this is the scene. The artist isn't gonna be able to do it. I mean, as I said, it is what it is. It's just visually, whoever they get is not gonna be able to pull it off. And then Fran did. You know what I mean? And there's something like. So it's a hundred times more effective because of that combination.
But I still have to write them. You know what I mean? Like, I still have to write them correctly in a way that they do that outside of what Ryan brings to it. So it's very nerve wracking. But I'm going to say, even if I fuck it up, and I might, I won't. Ryan won't let me. He says, like, it's going to be a dope, fun book. Like, it's going to be. It's such a dope, fun book. We're three issues in. Like, we have those three issues, and they're great. They're great fun. Shit eater is great. All the characters around him, I think, are very charming and likable. I think it's a really fun series, and I'm just putting a lot of pressure on myself to really do a good job on the last one.
[00:52:06] Speaker C: That's okay. I'll hold your hand the whole way. Yeah, it'll be fine, Ryan.
[00:52:09] Speaker A: And if you don't do it right, Ryan, he'll just say, why doesn't this person doing it the right way?
[00:52:13] Speaker C: I mean, look, we'll see how much energy I have or how many funny signs in the background energy I have going.
[00:52:21] Speaker B: We'll see how art Adams tired you are.
[00:52:25] Speaker A: Ryan was very tired on this last issue.
[00:52:28] Speaker C: Putting my fly hats on too tight or something. I don't know.
[00:52:32] Speaker A: He just draws shitty to really, really, really tired the entire loose.
[00:52:39] Speaker B: He is tired.
[00:52:40] Speaker C: He's beaten down.
[00:52:43] Speaker B: And also, presumably he's working. I think he's working double shifts at the burger bite every day.
[00:52:48] Speaker C: Yeah, it seems that way.
[00:52:50] Speaker A: Yeah.
[00:52:50] Speaker B: Poor guy.
[00:52:51] Speaker A: That's a feel for. I wrote a note down. I was like, I feel. I actually feel for him. He gets beat down over and over again.
[00:52:58] Speaker C: The most exhausting thing about his existence is the fact he doesn't have eyelids. Right. He can never turn the world off.
[00:53:05] Speaker B: You can't stop seeing it.
[00:53:07] Speaker C: You can't stop seeing it. Seeing, you know, 360 view of the world at all times. Like, you can't. You can't see.
[00:53:15] Speaker A: I love that visualization in the first issue where he has the band aids on the eyes too. They're just in random spots. It's like how you got beat up. Let's put some band aids on here.
[00:53:25] Speaker C: Yeah. Well, at first I was like, man, I'm gonna make sure they're in the same spot every time. And then in, like, panel two, they weren't. And I'm like, you know what? I'm gonna make sure they're in different spots every time.
[00:53:34] Speaker A: There's like, joke. It was a mole moves on the person on the face. Is that what Mel Brooks does? That, like, where the mole moves in different spots every time you look at a different shot? You do that with the band aids on there? Yeah, but, yeah, it's hilarious.
[00:53:46] Speaker B: Ryan has famously said before that he issues continuity as much as possible.
[00:53:50] Speaker C: I do.
[00:53:51] Speaker B: In his life.
[00:53:52] Speaker C: Yeah. No, in comics, I do it all the time because I don't think anyone really pays attention. And, you know, because you read that stuff so fast. So, like, I've said this multiple times, but I have a character in goddess astronauts called time giraffe. And I thought it'd be fun if every time you see him, his costume is different. And so every time I draw him, he's got, like, different shoulder pads. Sometimes he's got, like, like, cyclops eyes. Sometimes he's got a mustache. Like, I show him different. He's a time traveling giraffe. And so, like, well, maybe every time you're seeing him, it's a different iteration of him, but no one has ever pointed it out to me. No fan isn't frustrating. He's got robot arms here, and he's got, you know, so it's not true.
[00:54:35] Speaker A: To hurt your feelings are like, I don't want to tell him. Does he realize that he's messing up every single time he draws?
[00:54:39] Speaker C: No, I just. I'm like, no, nobody's actually paying attention. Like, I hyper pay attention to it when I'm reading a comic, and then I see inaccuracies all the time, and then I realize that maybe I should just let it go, you know, so I just let it go.
[00:54:54] Speaker A: You let it go.
[00:54:54] Speaker B: Well, you can't. You can't just flip through, Barfly. There's too much happening. You have to hear lies in there.
[00:55:00] Speaker A: I'm glad you had that whole read twice thing because it is true. It's one of those things that maybe read it to understand it and then go through and just look at the background. It's, you know, stare at a panel for a while, read the different, like said the posters on the wall. I don't want to say any of them because I want people to read them and see what they say.
[00:55:15] Speaker B: Yeah, the posters on the wall are.
[00:55:16] Speaker A: Very, I literally, so my son's three and right now he won't go to bed unless I'm sitting in the chair next to him, like waiting for him to fall asleep. Like he has to fall asleep and then I can tip to out of the room and I'm sitting there reading on my iPad and I like, haha. I'm like, oh, shit. Like he's gonna wake up. I'm like literally laughing out loud at.
[00:55:32] Speaker C: Some of these I'm just holding with those posters. So I'm sorry.
[00:55:36] Speaker A: It's, it's absolutely fine. It's better than the horror books that I read that I'm like, oh, great. I'm gonna have nightmares. I'm gonna, I feel like I'm gonna give him nightmares just being in the same area as him, probably. He's always like, what are you reading? I'm like, you can't read this. This is not for you. But yeah, it's. I think the first issue is hilarious. I think it's gonna just go up from here. I, you know, pressures on you guys to do it, but I think it's too talented. Funny.
[00:55:58] Speaker C: Did they send you issue two?
[00:56:00] Speaker A: No, I don't get.
[00:56:01] Speaker B: No one's got issue to.
[00:56:02] Speaker A: We find.
[00:56:02] Speaker B: I'm finding out today.
[00:56:03] Speaker A: Yeah, I'm gonna.
[00:56:06] Speaker B: It's good.
[00:56:07] Speaker C: It's good. Yeah, there's some good.
[00:56:09] Speaker A: It's fun because a lot of times I like to, only because I. There's a talk to creators before that, they sent me like all four issues of a series and I'm like, oh, this is cool. A lot of times I only read number one before I even talk to you because I don't really, I want to, like, gear people up for the first issue and I don't want to accidentally. It's the same thing. We have a graphic novel club that meets every month. At my local comic book shop. And, like, if there's, like, volume two of something, I don't start reading volume two until after we meet, because I'm afraid. I'm like, oh, yeah, the character, it's so great that he does this. They're like, that didn't happen in this. I'm like, oh, crap. That was in volume two.
I try to tame myself and only read issue one before I start talking to you, but, like, I can't wait for everybody to read it because it's a lot of fun. July 10 out there at local comic book shops from dark horse comics. Yeah.
Well, I think that's good. I think. Thank you guys, for taking time out to talk to us. I know you got busy summers and busy things going on. It's con season, so you guys are both. You guys are both going out to San Diego, I'm guessing.
[00:57:04] Speaker B: We're. The whole team will be at San Diego.
[00:57:06] Speaker A: That's awesome.
[00:57:08] Speaker B: We're going to be doing multiple signings. I think we're doing a panel if we get there on time, but for sure, we're doing multiple signings. There's going to be exclusives that Ryan made all of them, apparently, because he can't stop working.
I think it's really exciting.
It's exciting that all of us are going to be together. I think. I think it's a cool thing. I assume Tim is gonna be for sure be there, too.
[00:57:32] Speaker C: Yeah, it's really gonna be.
[00:57:34] Speaker B: Do you know the art? Do you know if the army artists are gonna be there? I haven't heard anything. I hope they are. I don't.
[00:57:40] Speaker C: I don't know. I don't know if Chris is gonna be there. He doesn't do many shows. He's a Chicago guy. I know him.
[00:57:44] Speaker B: Yeah. But he's gonna, like, it's gonna be such a big.
It's just gonna be such a big group of this small team. Like, I'm excited about it. I've been in San Diego in years, so it should be a lot of fun. He says, sarcastic.
[00:57:57] Speaker C: I like that they're just collect. They're just collecting, like. Like, baseball cards. Their. Their favorite creators into their.
[00:58:05] Speaker B: Yeah, I do too.
[00:58:06] Speaker C: I talked. I talked to someone this weekend at Heroes Con who's doing a minor threats thing, and I was like, really? And they are very, very, very, very good and way better than me. And so I was like, wow. All right.
[00:58:18] Speaker B: That's a short list.
[00:58:19] Speaker A: Going for this very short list.
[00:58:22] Speaker B: I can only think of. I only thought of one name off the top of my head. I'm not going to say it, but yeah, that was at Heroes Con. That is better than you. And I think that's so subjective.
[00:58:32] Speaker C: Oh, that's so nice.
[00:58:34] Speaker B: They're too busy. It can't be them.
[00:58:35] Speaker C: Well, I don't think nobody's kind of was better than you, Kyle.
[00:58:39] Speaker A: That. That band, it's getting tighter and tighter on his head over there because you're making Ryan's head so big right now.
[00:58:47] Speaker C: I think I'm running out of October here.
[00:58:52] Speaker A: Yeah. So July 10 at your local comic book shop. Let them know you want it. Even though Foc is passed, just let them know that you want it so they can put in your pull box and save it and then grab all the other issues that are coming in.
[00:59:04] Speaker B: All those great variant covers. You got to order that stuff.
[00:59:07] Speaker A: Yeah.
[00:59:07] Speaker C: And then let them know that you.
[00:59:08] Speaker A: Want, you know, pick up the hardcover of 8 billion genies while you're there. It's beautiful. Pick up some back trades and pick, you know, tell them you want where monsters lie. Cul de sac coming out this fall, too. You definitely want that as well from dark horse. So, yeah, thanks so much for taking some time out. We appreciate it. We'll have you back at some point in the future and the pressure's on to keep writing good books, Kyle, so that my quotes get on the back of your book. So, you know, I need to keep liking your book, so I can only.
[00:59:35] Speaker B: Do what I can do, but it seems like so far that's what I'm doing. So that's positive.
[00:59:39] Speaker A: You're good. You're good. You're good. Thank you guys so much. I appreciate it.
[00:59:43] Speaker B: And thanks for having us, bud.
