Ed Piskor‘s comics work has been characterized by deep dives on big topics that the creator is really into: hip hop music and the X-Men. In this episode, Kumar and Dana dig into Piskor’s “Hip Hop Family Tree” and “X-Men: Grand Design.”
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When Ms. Marvel rebooted in 2014 as the story of Marvel’s first Muslim superhero, written by G. Willow Wilson, it gained a lot of mainstream media attention. Is the book worth the hype? Kumar and Tim go back and read the first four trades and debate what worked and what didn’t.
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This week we begin our visit with the creators at Helioscope, a comics studio in Portland, Oregon!
Karl Kesel has been in mainstream comics for 30 years and has worked on some of the most popular characters from the Big Two. How has the industry changed in that time, for good and bad? Why is his fingernail always broken? How is inking therapeutic for him?
Then graphic novelist Dylan Meconis (Bite Me!: A Vampire Farce; Family Man; Outfoxed) gives us a lot of thoughts and tips for promoting a comic online, as well as why foxes are thought of as tricksters in numerous cultures, and how we’ll know when comics have really “arrived”.
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A noir thriller… that seems very reminiscent of a very different comic strip! Tim and Mulele discuss “Spencer and Locke” by David Pepose and Jorge Santiago Jr.!
Also, we talk about Marvel and the backlash toward “Secret Empire”.
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This week, Gabrial and David from the Kind of Epic Show podcast join Tim to talk about their show, and various Marvel Comics highlights (and lowlights) from the past 30 years — and in particular, Tom King and Gabriel Hernandez Walta’s The Vision.
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Love and Rockets continues to impress, and in this episode Koom asks creator Jaime Hernandez some burning questions. Hernandez talks about writing Maggie and Hopey, the dynamics of working on something with your brother, why he gravitates toward female characters, his influences and art style, and more.
Also, Tim and Mulele discuss the current state of the US comics market and Marvel’s recent problems.
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This week we cross over with Shortbox Showcase, of the Relatively Geeky podcast network! Professor Alan and daughter Emily join Tim to fill us in on their comics-reading and podcast-making background, and then to discuss Power Man and Iron Fist v.1 by David Walker, Sanford Greene, and Flaviano — with digressions into differences between Marvel and DC, how society surely must work in the Marvel Universe, and more!
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Over the decades, Captain America has changed his name, changed his costume, changed his mission, and been temporarily replaced by others. These changes, and other story developments, have often reflected changes in the national mood, such as post-Watergate malaise or the struggle to understand why 9/11 happened and how the U.S. should respond to it.
In this episode, Emmet O’Cuana talks with Neal Curtis, of the University of Auckland in New Zealand. Neal recently presented the paper “Captain America: Patriotism, Nationalism, Fascism” and is the author of the book “Sovereignty and Superheroes“. He talks here about how Cap has reflected changes in America, from World War II to the age of Trump.
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While we’ve talked before with Austin Tichenor and John Roberson about adapting comics to the stage, we’ve never talked about (or even thought about!) adapting the lives of comics creators to that stage! But Lenny Schwartz has done it, and more than once, writing and directing “Co-Creator” (about Bill Finger and his claim to the Batman legacy) and “The Man Who Saw Snoopy” (about Charles Schulz, of course!). And he has another in the works on Spider-Man co-creator Steve Ditko.
This week Lenny tells Tim about writing these plays, just how much credit Bob Kane and Stan Lee may actually deserve, how Schulz used Peanuts as his diary, and much more.
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Irene Strychalski makes her fourth appearance on the podcast — this time as a full-time freelancer getting work from Marvel! We’ll talk about her depressing early comic, drawing from her own scripts vs. someone else’s, things people say to her when she draws in cafes, and more.
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