Latest / 22 Panels - A Comic Book Podcast / Love and Rockets Book Club #81 - Vol. 2 # 11

Transcript

Love and Rockets Book Club #81 - Vol. 2 # 11 · 22 Panels - A Comic Book Podcast

• 0:02
  Tad Eggleston: Good evening, everybody. Welcome back to the 22 Panels Love and Rockets Book Club. Today we will be discussing Love and Rockets
• 0:11
  Tad Eggleston: Number 11 from Volume 2, and Luba Comics and Stories, number 7.
• 0:18
  Tad Eggleston: These didn't come out in the same month, but they had a weird overlap.
• 0:23
  Maria Pena: Yes.
• 0:26
  Tad Eggleston: Yes.
• 0:26
  Maria Pena: March.
• 0:27
  Tad Eggleston: So it wound up being kind of cool that we were at them together.
• 0:31
  Tad Eggleston: I didn't do that on purpose.
• 0:35
  Marisol: sure.
• 0:36
  Tad Eggleston: I am. It just happened.
• 0:39
  Maria Pena: Yeah, it's pretty cool, though, because it's like you get… you get an extra dimension to the… Right.
• 0:46
  Maria Pena: To the story we're reading in one, and you go, oh, here's the rest of it, here's more, yeah.
• 0:53
  Maria Pena: My Carrera.
• 0:55
  Tad Eggleston: Carrera Self-help guru and Fritz's ex.
• 1:01
  Marisol: You know.
• 1:03
  Maria Pena: So, what are we… which one are we doing? Well, Global Rockets first, right?
• 1:07
  Tad Eggleston: Yeah, we're gonna lead with some lovin' Rockets and some dumb solitaire with Mark Carrera.
• 1:12
  Marisol: And he's…
• 1:13
  Tad Eggleston: And his sixth… Five ex-wives and 1 current wife.
• 1:18
  Maria Pena: Her and the wife.
• 1:20
  Maria Pena: Still, yeah, I think 6 months and counting or something.
• 1:26
  Marisol: Nine.
• 1:26
  Maria Pena: And counting. At once.
• 1:29
  Tad Eggleston: Damn.
• 1:31
  Tad Eggleston: Scared by, Fritz and her guns.
• 1:37
  Tad Eggleston: They were a little much for him.
• 1:39
  Maria Pena: Yeah, totally impotent.
• 1:42
  Maria Pena: Yeah, that was really cool. I enjoyed that story. Oh, can I talk about the cover of Lover?
• 1:51
  Tad Eggleston: Sure.
• 1:51
  Maria Pena: So, Julio… And I think this guy is his lover, It turns out.
• 1:59
  Tad Eggleston: It's possible. Yeah.
• 2:00
  Maria Pena: I mean, it sounded like a lover's kind of goodbye.
• 2:04
  Tad Eggleston: It'd feel like it.
• 2:06
  Maria Pena: Yeah, yeah. So, this, kind of, African-American-looking dude with green eyes.
• 2:13
  Maria Pena: Although it could be just a Latino, I guess. It could be, like, I don't know.
• 2:19
  Tad Eggleston: Well, as I was having a recent discussion regarding all of the hoopla going on about,
• 2:32
  Tad Eggleston: the Odyssey, and how dare we have a Black Helen.
• 2:36
  Maria Pena: Oh, God.
• 2:37
  Marisol: Fuck.
• 2:37
  Maria Pena: Good.
• 2:38
  Tad Eggleston: You know, particularly that band of the world tends to have a lot of colors
• 2:44
  Tad Eggleston: intermix, you know? There are Black Dominicans, and there are.
• 2:49
  Maria Pena: That's right.
• 2:50
  Tad Eggleston: Or light brown Dominicans.
• 2:52
  Maria Pena: Yeah, yeah, so I… he's… he's sort of, yeah, he's probably a, yeah, like, dominant, that's right. He could be cute.
• 2:59
  Tad Eggleston: Same with Haitian.
• 3:01
  Tad Eggleston: 80, same with Cube. I mean, like, particularly in…
• 3:05
  Maria Pena: So…
• 3:06
  Tad Eggleston: Right. Particularly in the Americas, where you have
• 3:12
  Tad Eggleston: like, the Native Americans tend towards a darker brown.
• 3:18
  Tad Eggleston: And there's lots of… white…
• 3:23
  Maria Pena: It's a real milky.
• 3:24
  Tad Eggleston: off-white.
• 3:25
  Tad Eggleston: European mixed in, because, like, everybody forgets that, like, it wasn't that long ago that the Greeks and Italians weren't considered white by, like.
• 3:35
  Maria Pena: Mmm.
• 3:35
  Tad Eggleston: Northern Europeans Anyway, right? That's right.
• 3:39
  Maria Pena: Yeah.
• 3:42
  Tad Eggleston: there are plenty of Greeks that, like.
• 3:46
  Tad Eggleston: It's hard to tell from complexion alone whether they're Greek or Hispanic.
• 3:51
  Maria Pena: Oh, believe me, in Malta, some Maltese people are my color, you know, like.
• 4:00
  Tad Eggleston: Right.
• 4:00
  Maria Pena: background.
• 4:01
  Tad Eggleston: Exactly, exactly.
• 4:02
  Maria Pena: And except for my aficionomy, you know, I could be Maltese, in terms of my color.
• 4:08
  Tad Eggleston: I mean, for the… In my head, I'm sitting there going.
• 4:13
  Tad Eggleston: if you told the American people that she was a Turkish queen, nobody would have questioned the color. But Turkey and Greece share a border.
• 4:24
  Maria Pena: Yeah, yeah.
• 4:25
  Tad Eggleston: Yes.
• 4:27
  Maria Pena: Oh, no, they think Greece, and they think, you know, Venus de Milo, or whatever, you know, I don't know.
• 4:33
  Tad Eggleston: Well, but that's.
• 4:34
  Maria Pena: That's when I actually started…
• 4:36
  Tad Eggleston: that's when I started going into, like, Greek sculpture, or Hellenic art, both sculpture and paintings from the time, and…
• 4:46
  Maria Pena: Hmm.
• 4:46
  Tad Eggleston: In the paintings, you see a lot of colors, and it turns out that part of that is because they would make women white and men black, so it had, like, nothing to do with their actual colors, it had to do with…
• 4:58
  Tad Eggleston: gender.
• 4:59
  Maria Pena: And also, I'm not sure, but is Troy… was Troy actually in Greece? Like, you know, like…
• 5:08
  Tad Eggleston: You know, I mean, yes.
• 5:09
  Maria Pena: That home geography…
• 5:12
  Tad Eggleston: towards.
• 5:12
  Maria Pena: Very…
• 5:13
  Tad Eggleston: It was, like, Southwestern…
• 5:16
  Maria Pena: Right.
• 5:17
  Tad Eggleston: Or southeastern Greece?
• 5:20
  Maria Pena: Hmm, yeah, right, so there you go.
• 5:23
  Maria Pena: Yeah.
• 5:23
  Tad Eggleston: But also, you look at, like, the sculptures, and it's like, oh, that's a lot of African hair.
• 5:30
  Maria Pena: Mmm.
• 5:32
  Tad Eggleston: You know, we're not talking, like.
• 5:34
  Tad Eggleston: like, like, fine, straight European hair. We're talking…
• 5:40
  Tad Eggleston: There you go.
• 5:41
  Marisol: curls, and coils.
• 5:43
  Tad Eggleston: Right!
• 5:45
  Maria Pena: Yeah.
• 5:47
  Maria Pena: Anyway,
• 5:49
  Tad Eggleston: So, yeah, no way to tell for certain exactly where this would be from.
• 5:54
  Maria Pena: Yeah.
• 5:55
  Tad Eggleston: They could be from the same country, but with slightly different… Yeah. Internal lineages.
• 6:02
  Maria Pena: Yep, yep.
• 6:05
  Tad Eggleston: So…
• 6:06
  Maria Pena: I didn't mean to go into a, you know, into a ratio.
• 6:09
  Tad Eggleston: No, but I… I mean…
• 6:11
  Maria Pena: You know, like, I was just thinking out loud, like, is he for African American, or is it.
• 6:15
  Tad Eggleston: No, it's worth doing from time to time, because, I mean, we've done it with Luba and her sisters, too, because, like, they're 3 very different complexions.
• 6:24
  Tad Eggleston: Yes, they share a mother.
• 6:26
  Maria Pena: Yeah, yeah.
• 6:27
  Tad Eggleston: And, like, supposedly, Fritz and Petra share a father.
• 6:34
  Maria Pena: Yeah, and then Fritz is super… Oh, the lady.
• 6:38
  Tad Eggleston: You know, I mean, with, with, with Mayor, er, with Maria.
• 6:44
  Tad Eggleston: Not you, Maria, Maria L.
• 6:47
  Maria Pena: No, Maria.
• 6:48
  Tad Eggleston: Right.
• 6:50
  Tad Eggleston: With Maria M, you know…
• 6:54
  Maria Pena: Yeah, she's…
• 6:55
  Tad Eggleston: Kinda like her daughters, there's room for…
• 6:59
  Maria Pena: Yeah.
• 7:02
  Maria Pena: That's right.
• 7:04
  Maria Pena: So, Mark Herrera, I like that, when he's talking, the, the…
• 7:13
  Maria Pena: The frames, the panels have a sort of a broken line at the top.
• 7:21
  Tad Eggleston: Okay, yeah.
• 7:21
  Maria Pena: When, when, when it's his, his voiceover, you know, this, and this is the same, so all the way, so, like.
• 7:30
  Maria Pena: Like, when the girl… so we go through each… each wife tells her story.
• 7:36
  Maria Pena: But then, you know, then you hear his point of view, and the… the panel is broken up at the top, and that's, it's an interesting…
• 7:46
  Maria Pena: way of solving the problem of who's talking, because, you know, like, these days, you get different types… different fonts for people, you know, and stuff like that, but this was…
• 7:57
  Marisol: Right.
• 7:58
  Maria Pena: different.
• 7:59
  Maria Pena: A different kind of, You know.
• 8:03
  Marisol: A little identifier.
• 8:05
  Maria Pena: Pardon?
• 8:07
  Marisol: It's like a different identifier on who's speaking.
• 8:11
  Maria Pena: Yeah, yeah, it's like a good storytelling device, and I… and amazing, you know, and I got it straight away, I was like, oh, right, that's him talking. You know, like, it's… it's pretty good, it's pretty great. Love that.
• 8:27
  Tad Eggleston: I kind of think the six wives next to each other, where you can tell that it's, like, he chose the things that he liked in each one of them.
• 8:34
  Tad Eggleston: Yep. Working his way to…
• 8:39
  Maria Pena: The current life? Yeah, I love…
• 8:41
  Maria Pena: Yeah, I loved all the different female bodies, you know?
• 8:46
  Tad Eggleston: Damn.
• 8:48
  Maria Pena: Beto, obviously, is a, you know, a student of the female body.
• 8:54
  Tad Eggleston: It does appear that…
• 8:55
  Maria Pena: time, man.
• 8:58
  Tad Eggleston: You're that way.
• 8:59
  Maria Pena: Yeah.
• 9:01
  Maria Pena: So, yeah, very… it was very enjoyable, I thought, that story.
• 9:06
  Maria Pena: Oh. And now we get to… Hi, Miss…
• 9:11
  Maria Pena: Star Sweet Home, based on the novel Home Sweet Stars.
• 9:18
  Maria Pena: Thought that was rather funny.
• 9:19
  Tad Eggleston: I, I, I love the, the porthole picture.
• 9:24
  Maria Pena: Hmm.
• 9:24
  Marisol: Yeah.
• 9:25
  Tad Eggleston: Down in the bottom corner.
• 9:26
  Marisol: at them?
• 9:27
  Tad Eggleston: Yeah.
• 9:28
  Marisol: That was a cool shot.
• 9:31
  Maria Pena: Yeah.
• 9:33
  Maria Pena: Yeah, that's great.
• 9:34
  Tad Eggleston: I mean, this is just a cute little one-pager.
• 9:37
  Maria Pena: Yeah.
• 9:39
  Maria Pena: I, I love that the love interest, she's, you know, is very body positive. Yeah.
• 9:46
  Maria Pena: and…
• 9:47
  Marisol: She's not real thin.
• 9:49
  Tad Eggleston: No, yeah, no.
• 9:52
  Maria Pena: he wouldn't quite catch Mark Herrera's, eye, I would say.
• 9:59
  Tad Eggleston: No, no.
• 10:02
  Tad Eggleston: And then…
• 10:03
  Maria Pena: better.
• 10:03
  Tad Eggleston: Ray comes back.
• 10:05
  Maria Pena: Ray comes back!
• 10:07
  Tad Eggleston: I love Ray.
• 10:09
  Maria Pena: This was a great story, actually. I love that, that woman, the,
• 10:15
  Maria Pena: the… the stripper that comes to see… I love the face, like, the big mouth and the gap and the teeth, and you can see she's got a real humanity about her, like, she's not just a pretty girl, but she's pretty.
• 10:31
  Maria Pena: But she's got something different, you know, like a… I'm always marveling at the way, Jaime
• 10:38
  Maria Pena: differentiates between people, like… and that girl walking, you know, in that panel in the middle there, walking past, and she's got a bit of…
• 10:48
  Maria Pena: Acne or something on her face.
• 10:49
  Tad Eggleston: Right.
• 10:50
  Maria Pena: And, like, it's just amazing, like, the different…
• 10:55
  Maria Pena: Body languages of the three guys, you know, the guy with the… Don't be gonna…
• 11:02
  Tad Eggleston: Right?
• 11:02
  Maria Pena: Bend overhead, and… I love it.
• 11:05
  Tad Eggleston: the, backlit… Right.
• 11:08
  Tad Eggleston: Sil… er, the, the… yeah, the… the…
• 11:12
  Tad Eggleston: The silhouette profile in that bottom panel, too.
• 11:16
  Maria Pena: Yeah.
• 11:17
  Maria Pena: You know, it's, and it was an enjoyable… so he's, he's,
• 11:26
  Maria Pena: he decides to go to this place, because Vivian might be there, and he.
• 11:31
  Tad Eggleston: Right.
• 11:31
  Maria Pena: And he cut… maybe sees Maggie.
• 11:35
  Tad Eggleston: Yeah, I love the deer in headlights.
• 11:37
  Tad Eggleston: The deer in headlights when he thinks it might be Maggie.
• 11:41
  Maria Pena: And I love that we don't see her face, so we don't know if it's.
• 11:44
  Tad Eggleston: We don't know either.
• 11:45
  Maria Pena: You're the only.
• 11:46
  Marisol: speculate.
• 11:50
  Maria Pena: I also…
• 11:50
  Tad Eggleston: I also love how…
• 11:52
  Marisol: at Wishful Thinking.
• 11:53
  Tad Eggleston: he accidentally walked around the building and realized, oh shit, I can't.
• 11:57
  Maria Pena: There's nowhere to go.
• 11:58
  Tad Eggleston: buy them.
• 12:01
  Maria Pena: And he stands there…
• 12:03
  Tad Eggleston: Looks like the little kid standing in the corner.
• 12:07
  Maria Pena: And he just stands there having to listen to everything, like, the conversation, and hoping that nobody… that they don't turn around and come around the corner and see him standing.
• 12:18
  Marisol: Too funny.
• 12:21
  Tad Eggleston: I like the one from above almost more.
• 12:25
  Maria Pena: Yeah.
• 12:26
  Tad Eggleston: Where it's like, okay, is he the little boy in trouble, or is he getting ready to take a pee?
• 12:31
  Tad Eggleston: Yes.
• 12:32
  Maria Pena: Well, I originally… I originally thought that's what he was doing, because he said, I have to go pee, and then he gets to there, and I thought, oh, he's gonna have a pee, and then he… he didn't. Right.
• 12:44
  Marisol: While we're on it, I just want to mention that, like, I think that's my favorite panel of this.
• 12:49
  Marisol: It's just Ray facing the wall.
• 12:53
  Tad Eggleston: Which of the three, Ray facing the walls, though?
• 12:56
  Marisol: The view from above, this page here, top left.
• 13:01
  Tad Eggleston: So… it's so good. It's so good.
• 13:04
  Maria Pena: Yeah. Oh, I've got one that immediately struck me, but it's further along, and it's a bit of a masterpiece, so you probably know.
• 13:10
  Marisol: Which one?
• 13:12
  Tad Eggleston: I also like him.
• 13:13
  Maria Pena: Oh, that's great.
• 13:14
  Tad Eggleston: coming across Doyle.
• 13:17
  Maria Pena: Yeah.
• 13:17
  Tad Eggleston: His suit, his suit, like…
• 13:20
  Maria Pena: glimpse into that.
• 13:21
  Tad Eggleston: Right.
• 13:22
  Maria Pena: Yeah.
• 13:23
  Maria Pena: And that whole situation, I was like, what's going on behind, Doyle? You know, like, who are they taking, you know, and then at the end, you realize, you…
• 13:33
  Tad Eggleston: It did take a while to figure out that that was a cane, not a hammer. The Doyle.
• 13:38
  Maria Pena: She's doing a lube out.
• 13:41
  Tad Eggleston: Is oil really going…
• 13:44
  Maria Pena: No.
• 13:44
  Marisol: Did I ever get… did we get a reason as to why he uses a cane, though?
• 13:49
  Maria Pena: I think so. I think we might have, but…
• 13:52
  Tad Eggleston: I don't remember.
• 13:52
  Maria Pena: I don't think we've seen it happen.
• 13:57
  Maria Pena: I think it…
• 13:58
  Maria Pena: I think Ray didn't see him for a while, and then next time he saw him… Yeah. But it has been there for a while.
• 14:08
  Tad Eggleston: And there's the frog mouth. I do love the,
• 14:12
  Maria Pena: The foghorn voice.
• 14:14
  Tad Eggleston: Decided to be charming and use an old standby. I said, every once in a while, a man ought to wear a suit. It went nowhere. Sheesh. Imagine if she knew the jacket and pants don't even match. With the tongue sticking out and the finger to the head.
• 14:34
  Maria Pena: Yeah.
• 14:35
  Marisol: God, Vivian is such a mess.
• 14:39
  Marisol: A mess, but…
• 14:41
  Marisol: Honestly, one of my favorite messes.
• 14:45
  Marisol: Just for the sheer amount of chaos that tends to follow her.
• 14:50
  Maria Pena: Yeah.
• 14:50
  Tad Eggleston: Ray's a bit of a mess, too, and one of my favorite messes.
• 14:55
  Marisol: True.
• 14:57
  Maria Pena: And that last, so then at the end, we realized that it's Sid who was taken.
• 15:04
  Maria Pena: And be killed. And that's a great panel.
• 15:07
  Tad Eggleston: Oh, darn.
• 15:10
  Maria Pena: Oh, no, no.
• 15:11
  Tad Eggleston: We'll miss… we'll miss him so much.
• 15:14
  Maria Pena: Yeah, yeah.
• 15:16
  Maria Pena: And I… yeah, the way he… he… the moment, you know, Ray realizes, what's… kind of what's going on, like, we realize at the same time that he does, as we're reading, it's like… and then…
• 15:34
  Maria Pena: But even then, like, I didn't quite get it until I saw the… I went, oh, it was seed, you know, like, yeah. Right. Like, like, I was still going… it wasn't that… who did they take, kind of thing.
• 15:50
  Tad Eggleston: I do…
• 15:52
  Maria Pena: Love the camera.
• 15:52
  Tad Eggleston: stuff, kids return.
• 15:56
  Tad Eggleston: Reading Luba.
• 15:58
  Marisol: Seeing the kids.
• 15:58
  Maria Pena: Yeah.
• 16:00
  Tad Eggleston: Well, and I like it in particular because…
• 16:06
  Tad Eggleston: like, I can't remember about Jimmy, but I know Killer is still around, and current Lovin' Rockets. Oh, okay. So we see her…
• 16:19
  Maria Pena: Later on.
• 16:21
  Tad Eggleston: Grow up, yeah.
• 16:23
  Tad Eggleston: I forget how much of the… how much of the growing up we see, but we see a young adult killer in, like, current, current Lovin' Rockets.
• 16:33
  Maria Pena: Right. Huh.
• 16:34
  Marisol: Wow.
• 16:35
  Maria Pena: I look forward to that. The inside, I know, you know.
• 16:39
  Tad Eggleston: This was just…
• 16:40
  Maria Pena: Christmas!
• 16:41
  Tad Eggleston: It's wacky.
• 16:43
  Marisol: Let's call it the way.
• 16:43
  Maria Pena: And now…
• 16:44
  Marisol: was weird.
• 16:45
  Maria Pena: Now, I'll tell you, she'll rea prematures. Now, I thought somebody was baking.
• 16:53
  Maria Pena: And they were using a baking sheet.
• 16:56
  Maria Pena: and making a mess, and it just inspired him, because that's all I saw. I was like, someone's baking, and these guys are made of flour.
• 17:04
  Maria Pena: Yeah, exactly. Baking sheet or… or something, and then it stopped making sense as a baking sheet later on, but at the beginning, that first page, I was like.
• 17:13
  Tad Eggleston: starred.
• 17:14
  Maria Pena: Someone was baking.
• 17:15
  Tad Eggleston: and became an alien. I mean…
• 17:17
  Maria Pena: Yes.
• 17:18
  Tad Eggleston: Isn't that a… that's… But it goes that way. Cookies, aliens, same thing.
• 17:25
  Maria Pena: Yeah, it's all dough.
• 17:28
  Maria Pena: Yeah, and then these two… two of the dough balls got mixed together and, you know, became this fucking… I don't know what the hell they are, but, you know, then it went about…
• 17:39
  Marisol: Thanks, good.
• 17:39
  Maria Pena: You know, completely nonsensical, but but yeah.
• 17:44
  Maria Pena: And there's flowers, and you're like, flower flowing…
• 17:46
  Tad Eggleston: Rio and Beto's story.
• 17:48
  Maria Pena: Yes.
• 17:49
  Maria Pena: Is it… is it Mario and Beto, or…
• 17:52
  Tad Eggleston: It is, it's Mario and Beto.
• 17:55
  Tad Eggleston: I mean, Beto gets weird too, but… but, like…
• 17:58
  Maria Pena: Sometimes when they worked together.
• 17:59
  Tad Eggleston: Together, they just get really silly.
• 18:02
  Maria Pena: Yeah, yeah. But I think, you know… Yeah.
• 18:08
  Marisol: A little extra weird.
• 18:10
  Maria Pena: Yeah.
• 18:11
  Maria Pena: And, like, they're making…
• 18:12
  Tad Eggleston: It's, it's really, it's really one of those,
• 18:16
  Tad Eggleston: let's not think too hard about it. Let's just… let's just enjoy.
• 18:20
  Marisol: Yeah.
• 18:21
  Maria Pena: Yeah. Yeah.
• 18:22
  Marisol: Just let it be, we're just gonna be here, reading along, and that's fine.
• 18:27
  Maria Pena: Yeah, oh, And I'd.
• 18:28
  Marisol: the more… Little Doe people.
• 18:31
  Maria Pena: Yeah.
• 18:32
  Maria Pena: Or it might have a really deep meaning, and it would be just too shallow to understand, but, you know.
• 18:38
  Tad Eggleston: I mean, that's entirely possible.
• 18:39
  Marisol: It's true.
• 18:44
  Tad Eggleston: You know, it, like, yeah, would not, would not shock me.
• 18:50
  Maria Pena: Because the name Schindleria Premature is what… I mean, Schindler's List, is that even…
• 18:58
  Tad Eggleston: I don't know. It would have been… it would have been after that.
• 19:01
  Maria Pena: So maybe it's got to do with the Holocaust?
• 19:04
  Maria Pena: I don't.
• 19:05
  Tad Eggleston: Right?
• 19:06
  Marisol: Who can say?
• 19:08
  Maria Pena: Oh, I love this. Anyway, yeah.
• 19:10
  Maria Pena: So, back to… heh.
• 19:12
  Tad Eggleston: And now…
• 19:13
  Marisol: Mina.
• 19:15
  Maria Pena: Now, this has some panels. This has my favorite panel in it.
• 19:18
  Tad Eggleston: Yeah. Well, I love… Jaime has made me like wrestling, at least.
• 19:24
  Tad Eggleston: Women's wrestling?
• 19:27
  Maria Pena: Ugh.
• 19:29
  Maria Pena: Yeah, like, even that panel bottom right there is pretty cool, with the people worshipping at Rina's Lucha Libre.
• 19:39
  Tad Eggleston: Mr.
• 19:39
  Maria Pena: That's pretty cool.
• 19:42
  Marisol: Cuz that's what you do with a star like that.
• 19:45
  Maria Pena: Now, that panel in the middle, that's my panel. My God. Oh, that's so good.
• 19:52
  Maria Pena: like, it's the storytelling, everything, the people crossing the river, the… yeah, that bridge, and the bridge, the rhythm of it, I mean, it's just amazing, like, that's…
• 20:04
  Marisol: But I love that.
• 20:05
  Maria Pena: Okay, foreseeable.
• 20:05
  Marisol: All the people going along with her, too.
• 20:08
  Maria Pena: Yeah.
• 20:11
  Maria Pena: That is incredible.
• 20:14
  Tad Eggleston: think… I think mine, though, is actually the her up on the shoulders after winning.
• 20:21
  Maria Pena: Yeah.
• 20:21
  Maria Pena: That's great. And that pranel next to it, with the soldiers, that looks
• 20:27
  Maria Pena: something out of El Salvador, man, like, in the 80s when I left. Like, seen so many photos like that.
• 20:34
  Tad Eggleston: My own.
• 20:34
  Maria Pena: Like, that's just crazy. Like, that broke… I saw that and I went, whoa.
• 20:41
  Maria Pena: It's crazy.
• 20:47
  Tad Eggleston: And then… Julio.
• 20:50
  Maria Pena: Will you…
• 20:50
  Marisol: do your thing.
• 20:55
  Tad Eggleston: Rolling into World War II now.
• 20:58
  Maria Pena: Yep.
• 20:59
  Maria Pena: And, Benjamin is going to the war. That… that old vet who wants to…
• 21:06
  Tad Eggleston: to go back.
• 21:07
  Maria Pena: thinking, oof.
• 21:08
  Marisol: Oh, God.
• 21:12
  Marisol: And Julio's sister is…
• 21:14
  Tad Eggleston: Sophia?
• 21:15
  Maria Pena: for you.
• 21:15
  Marisol: I don't want to say crazy, that feels mean.
• 21:18
  Tad Eggleston: No, but she…
• 21:19
  Maria Pena: She's gone a bit, you know, sort of… she's lost her mind now.
• 21:23
  Tad Eggleston: I mean, I can't imagine losing one's kids and husband all at once, and…
• 21:28
  Maria Pena: Yeah.
• 21:29
  Marisol: Right.
• 21:29
  Tad Eggleston: It's gonna make you crack.
• 21:31
  Maria Pena: And, you know, she… She had all that, so she had trauma from her uncle, Juan, you know.
• 21:39
  Maria Pena: that, you know, who took the baby, and then… because what happened was I, I read the issue before.
• 21:48
  Marisol: Really?
• 21:49
  Maria Pena: this one, because I needed to read it… to remember. So, her Uncle Juan took her… the baby.
• 21:55
  Tad Eggleston: Right.
• 21:56
  Maria Pena: And… and then they've… And then her husband, and…
• 22:00
  Maria Pena: And I can't remember who else went and got him.
• 22:05
  Maria Pena: And they got the baby… something had happened to the baby, and then they all died in the last slide, so it's a lot of trauma, like, it's…
• 22:12
  Tad Eggleston: Her husband and her other son.
• 22:15
  Marisol: Her two sons.
• 22:15
  Tad Eggleston: Yeah.
• 22:16
  Maria Pena: Yeah.
• 22:17
  Marisol: Yeah.
• 22:17
  Tad Eggleston: So she lost, I think, 3 kids and a husband.
• 22:21
  Maria Pena: Yeah.
• 22:21
  Tad Eggleston: All at once.
• 22:23
  Marisol: I thought the baby survived, no?
• 22:25
  Tad Eggleston: Did it?
• 22:27
  Marisol: I don't remember.
• 22:28
  Tad Eggleston: Maybe?
• 22:29
  Maria Pena: No, I don't think it did, because they said.
• 22:32
  Marisol: Overall.
• 22:32
  Maria Pena: down to the baby, and… and then it all, you know, and he… one of the other guys was holding the baby, and then the landslide happened.
• 22:41
  Marisol: Aww.
• 22:42
  Maria Pena: But Juan survived, which is like… Right. You know?
• 22:48
  Maria Pena: like…
• 22:48
  Tad Eggleston: Well, unless… unless… was this… Is this girl the baby?
• 22:54
  Tad Eggleston: Because we're later now.
• 22:56
  Maria Pena: Yeah.
• 22:57
  Marisol: I thought the baby was another boy.
• 23:01
  Maria Pena: Yeah, I think… I don't.
• 23:03
  Tad Eggleston: I mean, I guess… I guess I don't know for certain if the… no, it is a girl, because we gotta…
• 23:08
  Marisol: Oh.
• 23:08
  Tad Eggleston: No.
• 23:11
  Tad Eggleston: I don't know about the baby, I meant for a second there, I wasn't certain if the person that I was calling a girl was actually a girl, and then I looked at the next panel.
• 23:19
  Tad Eggleston: I don't think… I don't… I don't think Beto would put the little… little boy in a dress.
• 23:26
  Marisol: That's fair.
• 23:27
  Maria Pena: No, not necessarily.
• 23:31
  Maria Pena: No… yeah, no, him…
• 23:40
  Maria Pena: him, yeah. I'm looking at the old… the last, issue, and it says, the baby's here, I found him here, I found him, and then they say, you took him.
• 23:50
  Maria Pena: And then, yeah, the whole thing just…
• 23:54
  Maria Pena: like this, there's a guy holding the baby, and then the landslide happens. I don't… so yeah, the baby's… I can see the baby flying in the landslide, so the baby died.
• 24:05
  Tad Eggleston: Yeah.
• 24:05
  Maria Pena: Yeah.
• 24:07
  Marisol: Aww.
• 24:08
  Maria Pena: And then…
• 24:13
  Maria Pena: Oh.
• 24:14
  Maria Pena: Julio… Decides to leave.
• 24:19
  Maria Pena: And that guy.
• 24:21
  Tad Eggleston: Mother…
• 24:25
  Maria Pena: Yeah.
• 24:33
  Maria Pena: And that guy, that guy, that blonde guy, that's that little blonde kid, wasn't it?
• 24:38
  Maria Pena: the beginning, remember a few years ago, yeah.
• 24:42
  Maria Pena: And he said, I'm gonna get out of here, and the guy, and Julio goes, you're not going to do anything, and he goes, I know.
• 24:52
  Maria Pena: Which is, yeah, you know, sometimes people want to live, or do, or change their life, but they can't get around to it.
• 25:00
  Marisol: Just gotta stay where they're at.
• 25:03
  Maria Pena: Yeah.
• 25:04
  Tad Eggleston: I dug this back cover.
• 25:07
  Maria Pena: I wasn't sure, I was like, is that?
• 25:11
  Maria Pena: I said, actually, somebody else, and it was… it's high, man.
• 25:15
  Tad Eggleston: It is happening.
• 25:16
  Maria Pena: It's amazing how he can change his style to that extent, because I was like, that doesn't look like Jaime at all.
• 25:23
  Tad Eggleston: It's Jaime going… I mean, that's got a lot of Hal Ketchum going for it.
• 25:31
  Tad Eggleston: It's got a lot of…
• 25:36
  Maria Pena: And,
• 25:38
  Tad Eggleston: 50s comic strip.
• 25:39
  Tad Eggleston: Like, humor comic strip feel.
• 25:42
  Maria Pena: And that… I wonder if that's his dog that died?
• 25:46
  Tad Eggleston: Alright.
• 25:46
  Maria Pena: And that's a tribute?
• 25:48
  Maria Pena: B. Yeah.
• 25:50
  Maria Pena: Because I can't think of any other explanation.
• 25:54
  Tad Eggleston: Yeah.
• 25:58
  Maria Pena: There's an old… Old hound dog.
• 26:01
  Maria Pena: Yeah.
• 26:03
  Maria Pena: Oh, Fritz after that.
• 26:05
  Tad Eggleston: It's after…
• 26:05
  Maria Pena: dark.
• 26:07
  Marisol: Oh, Fritz.
• 26:09
  Tad Eggleston: We get the story of Enrique.
• 26:12
  Tad Eggleston: It's told from the perspective of…
• 26:15
  Maria Pena: Well, from Mark.
• 26:17
  Marisol: Yeah.
• 26:20
  Maria Pena: Yeah, like, how is that for an interesting twist.
• 26:27
  Maria Pena: But, it's great, like, the story is great, this sort of Enrique did not… wasn't always a pretty-looking, you know.
• 26:35
  Tad Eggleston: No, he's known her since high school and spent his whole life trying to.
• 26:40
  Maria Pena: Hiding.
• 26:41
  Tad Eggleston: What he thought she wanted.
• 26:44
  Maria Pena: Upset.
• 26:45
  Marisol: guessing, really.
• 26:46
  Tad Eggleston: Right.
• 26:47
  Maria Pena: And then he got really muscular to the point of being practically deformed. Right. And then he… so he's changed his body a lot. Like, he went really crazy muscular.
• 26:59
  Tad Eggleston: Finds out she wants the Cary Grant type, and works the…
• 27:03
  Maria Pena: Takes it down a notch.
• 27:05
  Tad Eggleston: Alright.
• 27:05
  Maria Pena: And it meets her at the reunion, and that's that.
• 27:09
  Maria Pena: I was worried that he was looking for revenge.
• 27:13
  Tad Eggleston: Man.
• 27:14
  Marisol: Me too.
• 27:16
  Maria Pena: Like, reading this.
• 27:18
  Tad Eggleston: I was a little bit.
• 27:19
  Marisol: He's gonna do something. He's gonna do something, it's gonna be fucked up, it's gonna traumatize Fritz.
• 27:25
  Maria Pena: Yeah, and I thought because, you know, because he's so, because he's so unresponsive when she's fucking him.
• 27:32
  Maria Pena: And I thought, that's it, he doesn't really love her, but actually, the…
• 27:36
  Maria Pena: He was just in love with the idea of her, like…
• 27:39
  Marisol: Right. Yeah.
• 27:40
  Maria Pena: You know, like, in the end, that's what it was.
• 27:43
  Marisol: the unattainability of Fritz.
• 27:46
  Maria Pena: Huh.
• 27:47
  Maria Pena: Yeah.
• 27:48
  Maria Pena: Which, yeah, that can happen.
• 27:53
  Marisol: Also, this whole Phantom of the Campus thing was really weird, and…
• 27:57
  Tad Eggleston: Phantom of the campus was definitely…
• 28:00
  Marisol: Yeah.
• 28:01
  Maria Pena: Yeah…
• 28:05
  Marisol: I kind of find it funny.
• 28:06
  Tad Eggleston: I didn't.
• 28:06
  Marisol: credit fritz, either.
• 28:08
  Tad Eggleston: Right.
• 28:09
  Tad Eggleston: I love the part where,
• 28:15
  Tad Eggleston: The, the lawyer asks, Fritz.
• 28:19
  Tad Eggleston: F.
• 28:20
  Tad Eggleston: she joins, or shares the conservative stance, and she's like, I'm a strident leftist and practicing Catholic.
• 28:29
  Maria Pena: Yeah. Yep. Yeah, she just goes outside.
• 28:31
  Tad Eggleston: It's like, huh?
• 28:33
  Maria Pena: Yep.
• 28:34
  Maria Pena: I also noticed… Yeah, you're doing this.
• 28:37
  Maria Pena: Yeah.
• 28:39
  Maria Pena: Yeah, I know, why is she doing that?
• 28:44
  Marisol: Also, let's remember that Fritz was a little bit of a mess in her younger years.
• 28:49
  Tad Eggleston: In her younger years.
• 28:52
  Tad Eggleston: Yeah.
• 28:53
  Marisol: I.
• 28:53
  Tad Eggleston: I didn't see that she's.
• 28:54
  Marisol: mellowed out now.
• 28:56
  Tad Eggleston: Jeez.
• 28:57
  Marisol: It has not mellowed out now. It's just kind of been an ongoing journey of shenanigans.
• 29:03
  Tad Eggleston: She, she was, she was only a messenger.
• 29:06
  Tad Eggleston: years.
• 29:07
  Marisol: Yeah, no, I heard…
• 29:08
  Tad Eggleston: No, Junker, I had…
• 29:09
  Marisol: And I'm like, oh, no.
• 29:11
  Tad Eggleston: I adore Fritz, don't get me wrong, I do. Like, Maggie and Fritz are my two favorite characters, but…
• 29:19
  Tad Eggleston: But…
• 29:21
  Marisol: All caps, messy.
• 29:22
  Tad Eggleston: I don't think… I don't think she stopped being a mess.
• 29:29
  Marisol: Aww.
• 29:32
  Maria Pena: I noticed that.
• 29:33
  Tad Eggleston: I missed the ending at the end.
• 29:34
  Maria Pena: Style. Oh, I love that panel at the bottom there, that's my panel. Some bags in it now.
• 29:43
  Maria Pena: Because, it's like, Beto channeling Jaime, like, this sort of blending into the… and I love that it's diff… like, different.
• 29:51
  Tad Eggleston: Alright.
• 29:52
  Maria Pena: 3 different poses, but they flew.
• 29:54
  Marisol: Don't too.
• 29:55
  Maria Pena: one another. It's quite cool.
• 29:59
  Maria Pena: Did you notice a change of style? That's a sort of, more linear? Like, he's not using a brush as much for the line work?
• 30:12
  Maria Pena: rapidograph or something. Not every… I mean, the line is more even, in some of them, particularly. In fact, not in this story, in the next story, I think.
• 30:25
  Maria Pena: But anyway…
• 30:26
  Tad Eggleston: But my answer is no, because… Okay.
• 30:31
  Tad Eggleston: I'm not that good at knowing stuff like that.
• 30:35
  Maria Pena: No, but if you look at the… his usual… look at his backgrounds here, how there's thick and thin lines in the back… in big black, like, he's used a brush.
• 30:44
  Maria Pena: And then you go… go back to that last page.
• 30:49
  Maria Pena: At the… when she's on… on stage there, and you see how he's done the curtains and her shading, and it's all kind of like a fine line kind of thing.
• 31:01
  Tad Eggleston: Right.
• 31:02
  Maria Pena: Yeah, it's a little bit different, and it was,
• 31:05
  Maria Pena: it was more obvious later on in the next page… in the next story, but… so I'll point it out when I see it.
• 31:13
  Tad Eggleston: Okay.
• 31:16
  Maria Pena: But I can see him experimenting with different… something different.
• 31:21
  Tad Eggleston: I, I think it's crazy that, that… Mark is…
• 31:28
  Tad Eggleston: more bothered by the sci-fi cons than the guns. Yeah.
• 31:35
  Maria Pena: Yeah.
• 31:37
  Tad Eggleston: I'll take the sci-fi.
• 31:38
  Marisol: I don't think you have…
• 31:39
  Tad Eggleston: any…
• 31:40
  Marisol: I don't think you have proprietaries in order, sir. One is definitely much more concerning than the other.
• 31:46
  Tad Eggleston: Well, and…
• 31:46
  Maria Pena: I don't know, but… It was the gun?
• 31:49
  Tad Eggleston: I understand.
• 31:50
  Tad Eggleston: Because she's intelligent, There are tons of intelligent people who like sci-fi cons.
• 31:57
  Maria Pena: Yes.
• 31:58
  Marisol: Exactly.
• 32:00
  Maria Pena: But at the end of the day, it was the guns. Like, he didn't like the other stuff, but it was the guns that put him off.
• 32:07
  Tad Eggleston: Right.
• 32:07
  Maria Pena: Completely, because he couldn't get it up anymore.
• 32:10
  Tad Eggleston: Well, I mean…
• 32:12
  Maria Pena: Yeah.
• 32:12
  Tad Eggleston: I think I would have trouble getting it up if somebody had a gun pointed at me, too.
• 32:17
  Maria Pena: Yeah.
• 32:18
  Marisol: Yeah, that doesn't seem like a very…
• 32:20
  Tad Eggleston: I don't actually want to test…
• 32:23
  Tad Eggleston: I don't want to test this theory.
• 32:25
  Tad Eggleston: At all.
• 32:27
  Maria Pena: Yeah.
• 32:29
  Maria Pena: Yeah, I thought the face fucking was alright.
• 32:31
  Tad Eggleston: But…
• 32:34
  Maria Pena: No.
• 32:36
  Maria Pena: So, this next page, I just saw the… so those bottom panels…
• 32:43
  Maria Pena: They look like that new style that I'm talking about, with just line, or very thin.
• 32:50
  Tad Eggleston: Well, which…
• 32:51
  Maria Pena: And even Fritz looks different, it's like…
• 32:54
  Tad Eggleston: So here's my question. Did he adopt that style for the movies inside the movies?
• 33:00
  Maria Pena: Maybe. Yes, maybe that's the style, the screen style.
• 33:06
  Tad Eggleston: Right?
• 33:06
  Maria Pena: Yes, yes, because all the… whatever he uses, it is in that… in that…
• 33:13
  Maria Pena: And that's Olympics.
• 33:15
  Tad Eggleston: Maybe when we get done with,
• 33:22
  Tad Eggleston: Volume 2, we'll have to… to take a moment to go read one of the… because, like.
• 33:28
  Tad Eggleston: Chance in Hell he's actually made into a full graphic novel.
• 33:32
  Maria Pena: Right.
• 33:33
  Tad Eggleston: Bottom corner here. Yeah, yeah.
• 33:38
  Tad Eggleston: I don't remember.
• 33:39
  Maria Pena: You're right, with the…
• 33:41
  Tad Eggleston: There are a number of Fritz Movie full graphic novels at this point.
• 33:47
  Maria Pena: Yeah.
• 33:48
  Maria Pena: That's crazy. He is just so prolific, it's… Absolutely incredible.
• 34:00
  Maria Pena: Are you sure he doesn't have, like, a little gaggle of assistance?
• 34:07
  Marisol: I mean, she's talking about breaking up with a fiance… Who?
• 34:13
  Marisol: Was it? It was Enrique, right?
• 34:16
  Tad Eggleston: He thinks so? Yeah.
• 34:19
  Marisol: Not even just how I was reading it, but my brain got a little confused.
• 34:23
  Tad Eggleston: Because Enrique… Enrique preferred to jerk off to the video of her than…
• 34:29
  Maria Pena: Yeah.
• 34:30
  Tad Eggleston: Then, you know, actually, yeah.
• 34:35
  Maria Pena: Yeah, yeah.
• 34:38
  Tad Eggleston: And for that matter, even when they did have sex, it was like…
• 34:43
  Maria Pena: Yeah.
• 34:44
  Tad Eggleston: All of the work.
• 34:47
  Maria Pena: Yeah, and that's why… and they… they touched on… he touched on this before, on the fact that he was so…
• 34:55
  Maria Pena: unresponsive. And that's why I thought he's got a plan for her to harm her in some way.
• 35:02
  Marisol: Yeah.
• 35:03
  Maria Pena: You know, before… and now.
• 35:06
  Tad Eggleston: And he's…
• 35:07
  Maria Pena: We know why.
• 35:08
  Tad Eggleston: It's just broken.
• 35:11
  Maria Pena: And her only true love is God.
• 35:14
  Tad Eggleston: Scott!
• 35:16
  Maria Pena: sucks.
• 35:17
  Marisol: Oh, boy.
• 35:18
  Maria Pena: And you're gonna go, Jesus, and he treats her like garbage, like, it's just sad.
• 35:25
  Tad Eggleston: He treats her like garbage, he's a schmuck.
• 35:28
  Tad Eggleston: Yep.
• 35:31
  Maria Pena: Ugh.
• 35:33
  Maria Pena: Verdic.
• 35:36
  Maria Pena: What a good…
• 35:37
  Tad Eggleston: every single level.
• 35:38
  Marisol: It's…
• 35:43
  Maria Pena: Oh, okay, yeah.
• 35:45
  Maria Pena: Here they all are, all the men in her life.
• 35:48
  Maria Pena: Well, some of them.
• 35:52
  Marisol: Her and her different costumes.
• 35:54
  Tad Eggleston: Right.
• 35:54
  Maria Pena: Yeah.
• 35:58
  Maria Pena: Yeah, and the phantom.
• 36:03
  Maria Pena: Yeah, it's cool.
• 36:09
  Tad Eggleston: Right, Panels.
• 36:12
  Maria Pena: Okay, so…
• 36:20
  Maria Pena: So I love that panel that I… that one that I said, the bottom.
• 36:23
  Tad Eggleston: Yeah.
• 36:23
  Maria Pena: of, work.
• 36:24
  Tad Eggleston: I think… I think you sold me on it, too.
• 36:28
  Maria Pena: Yeah.
• 36:28
  Tad Eggleston: The same on that one.
• 36:30
  Maria Pena: Okay.
• 36:34
  Tad Eggleston: Since it's…
• 36:35
  Maria Pena: I just love the way the post is like a time lapse, one of those photos of double exposure, you know, the…
• 36:42
  Marisol: It's pretty good.
• 36:43
  Maria Pena: at different, time-lapse bits in one picture, that's great.
• 36:50
  Marisol: Very well done.
• 36:55
  Maria Pena: It's very cool.
• 37:00
  Marisol: Don't know what mine.
• 37:01
  Maria Pena: Oh, the scooter we worked out.
• 37:04
  Maria Pena: that style was for the screen, when we were watching a movie of her, or in the… on the television.
• 37:10
  Tad Eggleston: I think so.
• 37:12
  Maria Pena: Yeah, no, you're right, you're absolutely right.
• 37:22
  Maria Pena: Yeah.
• 37:22
  Marisol: Where did I put it?
• 37:25
  Marisol: Here we go.
• 37:30
  Maria Pena: So… Marisol?
• 37:34
  Marisol: I think I might actually have to go with the front cover.
• 37:40
  Tad Eggleston: the other book?
• 37:42
  Marisol: This book.
• 37:43
  Tad Eggleston: Incap.
• 37:44
  Marisol: Fritz After Dark.
• 37:46
  Maria Pena: Oh, yeah, yeah, that's pretty cool.
• 37:48
  Tad Eggleston: It's pretty.
• 37:49
  Marisol: I love how she looks like she's done up, like a starlet, kind of, with, like the rosy cheeks, and the big, flowy, fluffy-looking hair, and the red lipstick.
• 38:01
  Marisol: And the blue lettering of the cover kind of made me think of… I don't know why, but the first thing that came to mind was, like, those big, bright neon signs you see sometimes in the middle of the night.
• 38:14
  Tad Eggleston: Right?
• 38:16
  Maria Pena: Yeah.
• 38:18
  Maria Pena: Yeah, that's very cool.
• 38:22
  Marisol: I really like the layout of this.
• 38:25
  Tad Eggleston: So, Jaime…
• 38:29
  Maria Pena: Well, we know which one I liked, which was the Rena Titano and the crossing the bridge, which is…
• 38:36
  Tad Eggleston: it'll pan.
• 38:37
  Maria Pena: Awesome.
• 38:38
  Maria Pena: Yeah, that's a masterpiece, man, that's…
• 38:41
  Tad Eggleston: It is.
• 38:43
  Maria Pena: That, if that was a painting, that would be in the, you know, in the Tate… museum.
• 38:49
  Maria Pena: Or the Louvre, with all the big, big-ass paintings. I mean, it's just awesome.
• 38:57
  Marisol: I think mine is actually on the same page, but the bottom right one, and solely because.
• 39:01
  Maria Pena: Yeah.
• 39:01
  Marisol: Old guy's green face.
• 39:03
  Maria Pena: Yeah. That's pretty good.
• 39:06
  Marisol: That is my only reason for liking that panel.
• 39:09
  Maria Pena: And also, you know…
• 39:10
  Marisol: lion.
• 39:12
  Maria Pena: Yeah, oh yeah.
• 39:13
  Maria Pena: Flipped over in the…
• 39:15
  Marisol: of the panel?
• 39:16
  Maria Pena: That guy looking in the foreground, looking and pointing, that's very Norman Rockwell, like,
• 39:22
  Tad Eggleston: Yeah.
• 39:26
  Maria Pena: You know, when someone pointing… it makes you feel.
• 39:29
  Marisol: can do.
• 39:30
  Maria Pena: Amen.
• 39:33
  Maria Pena: There's so many good.
• 39:35
  Tad Eggleston: I think… I'm gonna have to go back.
• 39:39
  Maria Pena: Ugh.
• 39:42
  Maria Pena: It's seed.
• 39:44
  Tad Eggleston: We're gonna do the Doyle lighting as… er, not Doyle, Ray Lighting as Cigarette.
• 39:49
  Marisol: agree.
• 39:50
  Marisol: Hmm, that's a good one.
• 39:53
  Tad Eggleston: And…
• 39:54
  Tad Eggleston: that we didn't even talk about coming… coming through the first time, because there's so many other good… I mean, I love the.
• 40:00
  Maria Pena: That one might be…
• 40:01
  Tad Eggleston: in the background, too, I mean, this page is great. These two pages are great.
• 40:07
  Tad Eggleston: And for that matter, it's 12 and 13, so… so I think that they're… they're…
• 40:16
  Tad Eggleston: Side-by-side pages.
• 40:18
  Maria Pena: Oh, okay.
• 40:21
  Tad Eggleston: I think… I think that it's a…
• 40:24
  Maria Pena: Let me look at it in my,
• 40:27
  Tad Eggleston: two-page…
• 40:29
  Maria Pena: So it's bread.
• 40:31
  Maria Pena: Too-based spray.
• 40:32
  Tad Eggleston: Yeah.
• 40:32
  Maria Pena: Sort of.
• 40:34
  Marisol: Huh.
• 40:35
  Tad Eggleston: I think… Because 10, 11 should be…
• 40:44
  Maria Pena: 10 and 11 are left and right.
• 40:47
  Maria Pena: Yeah.
• 40:48
  Tad Eggleston: No.
• 40:50
  Tad Eggleston: So, I mean, that's just a ridiculous two-page spread.
• 40:53
  Maria Pena: Yeah.
• 40:54
  Marisol: Bye.
• 40:56
  Maria Pena: It's incredible.
• 40:58
  Tad Eggleston: I'm, I'm, I'm taking the, the…
• 41:03
  Tad Eggleston: Like, where's the light coming from?
• 41:06
  Tad Eggleston: Because we've got the shadow.
• 41:09
  Tad Eggleston: So it's like.
• 41:10
  Maria Pena: The lights are coming from…
• 41:11
  Tad Eggleston: From above left.
• 41:14
  Maria Pena: Yeah.
• 41:15
  Tad Eggleston: So it's like a.
• 41:16
  Marisol: There's some delicious.
• 41:16
  Maria Pena: Lower, lower, so lower, but it's more parallel, because his shadow is right in front of him, so… so it's coming straight side on.
• 41:28
  Marisol: Maybe a sign?
• 41:29
  Maria Pena: Sometimes…
• 41:29
  Marisol: Across the street.
• 41:31
  Tad Eggleston: Yeah.
• 41:31
  Maria Pena: Yeah, or headlamps, or yeah.
• 41:36
  Marisol: Because it wouldn't be from… the car that Doyle's standing next to.
• 41:43
  Maria Pena: No, because it's around the corner, isn't it?
• 41:46
  Maria Pena: And if you squint at this whole double page, you see this sort of…
• 41:51
  Maria Pena: How they all connect with each other, the blacks, you know, if you squint at it.
• 41:56
  Maria Pena: You see, like, this shape, like, a round shape going around, and it's just beautiful, beautiful.
• 42:02
  Marisol: Boom.
• 42:04
  Tad Eggleston: Yeah.
• 42:05
  Maria Pena: It is a great double-page bridge.
• 42:11
  Tad Eggleston: Fun, fun!
• 42:13
  Tad Eggleston: Next… Next week, hopefully?
• 42:17
  Tad Eggleston: We get to… Move into…
• 42:22
  Maria Pena: Another Rockets number 12.
• 42:25
  Tad Eggleston: Yeah, which, which is, I think…
• 42:34
  Tad Eggleston: Love and Rockets number 12, and… and Luba Comics and Stories number 8, which is our last
• 42:40
  Tad Eggleston: Loop of comics and stories. Right.
• 42:43
  Maria Pena: Hmm.
• 42:44
  Tad Eggleston: So, then we'll be just loving Rockets for a while.
• 42:49
  Tad Eggleston: Okay.
• 42:50
  Tad Eggleston: Until we figure out how we wanna…
• 42:53
  Tad Eggleston: like, the only problem with doing Fritz movies is it means not doing Jaime while you do the Fritz movies, and, like…
• 43:00
  Tad Eggleston: I think some of them get worked into…
• 43:03
  Tad Eggleston: the Love & Rockets main, so we'll kind of figure it out as we go. Okay.
• 43:08
  Tad Eggleston: I don't remember.
• 43:09
  Tad Eggleston: Because this is part of the Love & Ride… you know, I'd read the first 50 as the first 50, and I've read the Volume 4 as Volume 4, but Volume 2 and News Stories, I haven't read.
• 43:24
  Tad Eggleston: I've read them as parts of their library editions, so I've read the storylines, I haven't read them in order, so…
• 43:31
  Maria Pena: That's true.
• 43:31
  Tad Eggleston: know where, right.
• 43:33
  Tad Eggleston: Don't actually know where everything falls out.
• 43:38
  Tad Eggleston: So… We'll get to do all of that together.
• 43:43
  Maria Pena: We will.
• 43:43
  Marisol: Yay.
• 43:44
  Maria Pena: Excellent.
• 43:45
  Tad Eggleston: So… But yeah.
• 43:49
  Tad Eggleston: This, this one, that won't work.
• 43:53
  Maria Pena: Before we do that.
• 43:53
  Tad Eggleston: been talking about numbers on the show a little bit more, because, like, we're over 900 episodes now. This, I think, is 900 and…
• 44:03
  Tad Eggleston: 3?
• 44:05
  Marisol: Oh, wow.
• 44:06
  Tad Eggleston: Yeah, 903 episodes.
• 44:10
  Tad Eggleston: Total?
• 44:11
  Maria Pena: Wow.
• 44:11
  Tad Eggleston: And I want to say it's Lovin' Rockets… Hmm.
• 44:18
  Tad Eggleston: It's making me… it's making me do two-factor. There we go.
• 44:29
  Tad Eggleston: It's Love and Rockets number… Da-da-da-da-da… 81.
• 44:38
  Marisol: Googled.
• 44:39
  Tad Eggleston: 81 lovin' Rockets.
• 44:43
  Marisol: that?
• 44:44
  Tad Eggleston: So… Yeah, we've been at this for a while.
• 44:50
  Maria Pena: We have enough material to keep going, especially from Pero.
• 44:54
  Tad Eggleston: We do, we do. We're… well, we've got 9 more issues of Volume 2.
• 45:00
  Tad Eggleston: And then we've got 8… Issues of the news stories.
• 45:05
  Maria Pena: Which you're.
• 45:06
  Tad Eggleston: like, 100 pages apiece, and then I think we're up to 16 issues of Volume 4.
• 45:13
  Tad Eggleston: And… and none of that includes… the Fritz B movies.
• 45:19
  Tad Eggleston: And none of that includes Beto's Blubber, which is kind of like…
• 45:25
  Tad Eggleston: That's the book that he does that's kind of the weird stuff, and none of that…
• 45:30
  Tad Eggleston: None of that includes Psychodrama Illustrated, which is, like, the Fritz-centered book that he has going on right now. And… and the second issue of Roy.
• 45:42
  Tad Eggleston: the book that he's doing with Natalia comes out
• 45:45
  Tad Eggleston: in a month or two. So, like, yeah.
• 45:48
  Marisol: We've got plenty to work on to keep going.
• 45:50
  Tad Eggleston: No shortage of materials.
• 45:52
  Maria Pena: What about the news stories of old Palomar? Is that…
• 45:56
  Tad Eggleston: I think that… that was…
• 45:59
  Maria Pena: A part of the…
• 46:00
  Tad Eggleston: Yeah, that's stuff… that's stuff that I think came from… from here.
• 46:06
  Maria Pena: So good.
• 46:07
  Tad Eggleston: I forget if that was part of Volume 2 or part of New Stories.
• 46:10
  Maria Pena: Okay, okay.
• 46:12
  Tad Eggleston: But yeah, no, that's… that's a collection of this stuff.
• 46:15
  Maria Pena: Oh, okay, good. I've got a couple of those physical issues.
• 46:19
  Tad Eggleston: Oh, I understand.
• 46:20
  Maria Pena: I saw them recently, and I went, oh shit, oh, I haven't done that one.
• 46:26
  Tad Eggleston: Ugh! So, so yeah. So much… Okay.
• 46:30
  Tad Eggleston: So much fun!
• 46:32
  Tad Eggleston: And it's crazy to think that we're, like…
• 46:36
  Tad Eggleston: We're probably only a little bit more than halfway home.
• 46:41
  Tad Eggleston: Wow.
• 46:43
  Tad Eggleston: That's crazy. In terms of pages, anyway.
• 46:46
  Tad Eggleston: In terms of issues, we're more, but in terms of pages, we're probably only a little bit more than halfway. So it's been fun, and we'll do it again, hopefully next week, if everybody's free. So, for the Love & Rockets Book Club on 22 Panels, this has been Marisol, Maria, and myself, and we will see you…
• 47:06
  Tad Eggleston: After the next page.