Latest / 22 Panels - A Comic Book Podcast / Love and Rockets Book Club #76 - V2 #6

Transcript

Love and Rockets Book Club #76 - V2 #6 · 22 Panels - A Comic Book Podcast

• 0:02
  Tad Eggleston: Good afternoon, everybody! Early morning in Australia, which I haven't gotten to say in a while, because Maria's been out gallivanting around the world.
• 0:18
  Tad Eggleston: Welcome back to the Love & Rockets Book Club on 22 Panels, where today we will discuss Lubus Comics and Stories number 3, Ophelia and the Little Ones, and Love & Rockets Volume 2, number 6. But before we started recording, we…
• 0:36
  Tad Eggleston: We… I could say we flipped a coin, but that would be a lie. We decided that we wanted to start with Ophelia. So, Ophelia, it is… I love this cover.
• 0:46
  Tad Eggleston: Venus is the superhero.
• 0:51
  Maria Pena: the nearest…
• 0:52
  Tad Eggleston: Kesemira, throwing her arm in the air, exactly.
• 0:57
  Marisol: I just love seeing Ophelia, it's like… back when she had her heart attack, I was genuinely scared that she had died.
• 1:05
  Tad Eggleston: Yeah.
• 1:05
  Marisol: God, no.
• 1:07
  Tad Eggleston: Yeah.
• 1:10
  Maria Pena: And then we go to… Reminder of who everybody is, which is always good.
• 1:15
  Marisol: Yes.
• 1:17
  Marisol: A little who's who at the beginning. Very helpful.
• 1:21
  Tad Eggleston: I, I, I loved, in this book of Ophelia, how
• 1:27
  Tad Eggleston: the extensive use of thought balloons, rather than.
• 1:32
  Maria Pena: Yeah!
• 1:32
  Tad Eggleston: Rather than a walk with all the kids, like, interacting with each other and whatnot, I mean, you've got some storytelling, you know.
• 1:40
  Tad Eggleston: Ophelia's telling them a story, but, like…
• 1:44
  Tad Eggleston: Other than the flashback story being told, like, everything is…
• 1:50
  Tad Eggleston: What is Venus thinking? What is Socorro thinking? What is…
• 1:54
  Maria Pena: Casimira.
• 1:55
  Tad Eggleston: Casimira thinking, even what is, yeah.
• 1:59
  Maria Pena: Josalito.
• 2:01
  Tad Eggleston: Ozilito.
• 2:01
  Marisol: Hmm.
• 2:03
  Maria Pena: Yeah, well, you know, and that's what kids do, in a way, you know, like, they just sit there and observe and think and try to work out the world around them. I mean, these kids are a bit more…
• 2:14
  Maria Pena: More, eloquent in their soul.
• 2:20
  Marisol: Yes.
• 2:20
  Maria Pena: Precocious. Very precocious.
• 2:24
  Tad Eggleston: I mean, Joselito's such a little boy, though.
• 2:28
  Tad Eggleston: Wouldn't it be great if Godzilla came up out of the ground right now, swinging his tail? He'd smash her Frankenstein!
• 2:37
  Maria Pena: That's true.
• 2:38
  Marisol: It was too funny. It was too funny.
• 2:40
  Maria Pena: Yeah, the girls are really philosophical, and…
• 2:44
  Marisol: Feelings, or apathy.
• 2:46
  Tad Eggleston: Ophelia, you gotta prove that our thing's scarier than her thing.
• 2:55
  Maria Pena: Yeah.
• 2:57
  Maria Pena: Nice.
• 2:58
  Marisol: Such cute little kids, too, like…
• 3:00
  Marisol: Yeah, they've seen a lot, been through a lot, and it's nice to get a little insight into
• 3:06
  Marisol: Kind of how they see the world.
• 3:08
  Tad Eggleston: Yeah.
• 3:08
  Maria Pena: Yes.
• 3:11
  Maria Pena: Yeah, I thought this story was really… I love that, that the… the… the Luba peanut…
• 3:21
  Marisol: Yeah.
• 3:21
  Maria Pena: We did.
• 3:23
  Tad Eggleston: Lubu, who came.
• 3:23
  Maria Pena: No windows without her.
• 3:24
  Tad Eggleston: clothes, but the wind blows the sheet in such a way that now it's superhero luba.
• 3:30
  Maria Pena: Yeah, sure.
• 3:31
  Marisol: With the knee-hide boots and everything.
• 3:32
  Tad Eggleston: Yeah, well, and that's the other thing. She left in sandals, lost her dress, but came home in knee-high boots.
• 3:42
  Maria Pena: That was a bit of a… a Freudian slip, came hot.
• 3:48
  Marisol: Oh, this is only Lupa.
• 3:50
  Maria Pena: Only boom.
• 3:50
  Marisol: We could pull some nonsense like this.
• 3:54
  Tad Eggleston: And, like, it's sold all the way, because there are the knee-highs before the wind.
• 4:02
  Tad Eggleston: I mean, see… see the very… the second panel after she gets home.
• 4:05
  Maria Pena: Yeah.
• 4:06
  Tad Eggleston: in the boots.
• 4:07
  Maria Pena: Yep.
• 4:08
  Tad Eggleston: Even though the page before, she left in sandals.
• 4:12
  Maria Pena: Yep.
• 4:14
  Maria Pena: And whether she say, she said, she couldn't, she couldn't remove…
• 4:21
  Tad Eggleston: At least I got away with some covering this time.
• 4:24
  Maria Pena: Yeah.
• 4:26
  Maria Pena: So maybe she's… she's taking someone's boots or something.
• 4:31
  Tad Eggleston: You want to know everything about the movie. Well, we didn't really go to the movie.
• 4:36
  Tad Eggleston: And then it's like, okay, I want every detail about your date with the rugby player.
• 4:45
  Maria Pena: I love that she… she just resigned… Ophelia resigns herself that, well, I suppose that would be… it wouldn't be right if I sold tickets, you know, because…
• 4:56
  Maria Pena: It's like, what am I gonna do with this girl, you know?
• 5:01
  Tad Eggleston: Yeah.
• 5:01
  Maria Pena: Too hot to.
• 5:03
  Tad Eggleston: Well, and see, that's…
• 5:04
  Maria Pena: I have a normal life.
• 5:06
  Tad Eggleston: That's what I appreciate a lot about the Ask Luba followed by the second chapter, is we got Luba's version of her life, and then we got…
• 5:19
  Tad Eggleston: Ophelia's version of a lot of it, and we get to remember that, like.
• 5:25
  Tad Eggleston: what Luba seems to sometimes lose track of, and it's easy.
• 5:31
  Tad Eggleston: is that, like, Ophelia is more apparent to her Mmm. Then appear.
• 5:38
  Tad Eggleston: So, in a lot of ways, like, Ophelia.
• 5:43
  Tad Eggleston: Is more the… the grandmother taking care of the kids than the…
• 5:50
  Tad Eggleston: Then the sister or aunt taking care of the kids.
• 5:53
  Marisol: Yeah, cause Ophelia and Luba are cousins, right?
• 5:56
  Tad Eggleston: They are, but there's enough of an age difference, and because Luba was abandoned.
• 6:02
  Maria Pena: He has been taking care of it for a long time.
• 6:05
  Tad Eggleston: Ophelia's been… I mean, that's why it's, like, great to go back to, like, Luba walking in on Ophelia and her boyfriend.
• 6:15
  Marisol: Yeah.
• 6:18
  Tad Eggleston: You know, it just gives you such a.
• 6:26
  Maria Pena: insight into their relationship, really. Right. You know, Ophelia was a bit mean to her and stuff, you know.
• 6:33
  Tad Eggleston: it fleshes out the dynamic that, like, a lot of Luba's parenting, she actually…
• 6:41
  Tad Eggleston: kind of learned from Ophelia. Ophelia was her parental figure. So, in some senses, when Ophelia's upset with Luba about this or that, that she was… you know, it's kind of like, please, learn from my mistakes with you.
• 6:58
  Maria Pena: Hmm.
• 6:58
  Tad Eggleston: As almost every parent is, it's like, no, no, don't do what I did, do what I wish I'd done.
• 7:06
  Marisol: And then Lepa just being too stubborn for her own good sometimes.
• 7:10
  Tad Eggleston: Particularly because, like, Ophelia doesn't say that part out loud. She doesn't say, I know I did a crappy job, do better than me. She just says.
• 7:21
  Tad Eggleston: You need to do better…
• 7:22
  Maria Pena: Doing the crappy jobs, trying to guilt him.
• 7:25
  Tad Eggleston: Which is another trap that parents can fall in. Oh, we can't admit that we make mistakes, because… whatever.
• 7:33
  Marisol: Yeah, like, parents are supposed to be infallible. They're…
• 7:37
  Tad Eggleston: Right. Not only are they supposed to be infallible, they're supposed to have always been infallible.
• 7:42
  Marisol: Hmm.
• 7:43
  Tad Eggleston: You know, the number of parents I know
• 7:46
  Tad Eggleston: That, like, they don't want to admit any of the things they did. Oh, if my kid knows I did this, then they'll think it's okay. I'm like, no, you don't get it. If you can say, I did this, and this is what happened, that, like, reinforces the not okay part, rather than…
• 8:04
  Tad Eggleston: Makes them go, oh, well, my dad did this.
• 8:12
  Tad Eggleston: Or at the very least, it doesn't automatically give a permission structure.
• 8:17
  Marisol: Right.
• 8:20
  Tad Eggleston: It's.
• 8:21
  Maria Pena: Interesting.
• 8:21
  Tad Eggleston: acknowledges that you're human, and maybe worth talking to and thinking about what you say, rather than…
• 8:30
  Tad Eggleston: Oh, they're just being mean to me. They just don't want me to have any fun.
• 8:36
  Marisol: Which, in a lot of ways…
• 8:38
  Tad Eggleston: dynamic.
• 8:38
  Marisol: a certain way for a reason.
• 8:41
  Tad Eggleston: the dynamic between Luba and Ophelia has very much been that, like, don't talk to me, I'm going to have fun. You can tell me when I get home.
• 8:52
  Maria Pena: Hmm.
• 8:54
  Tad Eggleston: you know, Luba very much treats it as… is not…
• 8:59
  Tad Eggleston: I mean, for that matter, Luba even remembers going between family members, and while she did, it was really she and Ophelia went between.
• 9:10
  Tad Eggleston: Family mode.
• 9:10
  Maria Pena: There's just a mention of failure rule in there.
• 9:13
  Tad Eggleston: Right. Right.
• 9:14
  Maria Pena: I guess that's all about herself.
• 9:17
  Tad Eggleston: I'm thinking about the older people that were supposedly taking care of her, but one of the reasons she was passed between them is because they weren't. So Ophelia would… I mean, we've seen that before. Ophelia would keep them moving.
• 9:31
  Tad Eggleston: To wherever they were gonna have the best…
• 9:36
  Maria Pena: Cheers.
• 9:37
  Tad Eggleston: Chance.
• 9:39
  Maria Pena: Hmm.
• 9:41
  Maria Pena: Until she ran.
• 9:42
  Tad Eggleston: Went off and got married to her drug dealer.
• 9:49
  Maria Pena: I love this, this Luba autobiography, if you like, because it went right into the weight gain. I didn't know that was the reason for the weight gain. Like, oh, this new information.
• 10:04
  Tad Eggleston: the medication.
• 10:05
  Maria Pena: New medication, new information.
• 10:14
  Maria Pena: And it was a good… a good reminder of all the things we've read over the years.
• 10:20
  Marisol: Yeah, and where she's come from.
• 10:23
  Maria Pena: Yeah.
• 10:24
  Tad Eggleston: And man, do I love this.
• 10:27
  Tad Eggleston: Never really knew what happened to my father and first husband.
• 10:32
  Tad Eggleston: I still love old romantic American movies the best.
• 10:37
  Maria Pena: Hmm.
• 10:38
  Tad Eggleston: That's such a great panel.
• 10:41
  Maria Pena: Yeah.
• 10:43
  Maria Pena: It's almost like a… like a…
• 10:45
  Maria Pena: young love patterns, I don't know.
• 10:48
  Tad Eggleston: Yeah.
• 10:48
  Maria Pena: for me about it.
• 10:50
  Tad Eggleston: Well, but, but, I mean, you guys know… know… know how much I love Beto's Skies already, but this one…
• 10:58
  Maria Pena: Yeah.
• 10:58
  Tad Eggleston: full moon… The backlit clouds… The reflection on the ocean…
• 11:07
  Maria Pena: Yeah.
• 11:09
  Tad Eggleston: I mean, it's just such a marvelously constructed panel.
• 11:15
  Maria Pena: Yes.
• 11:21
  Tad Eggleston: And then to see that the whole thing happened as they were walking to visit their mom's grave.
• 11:29
  Maria Pena: Yeah, that was a good revelation at the end.
• 11:34
  Maria Pena: The inside of the beginning, where the… that man, the homeless man or whoever, tells her that she needs to forgive her mother.
• 11:43
  Tad Eggleston: her mother.
• 11:44
  Maria Pena: Yep.
• 11:49
  Maria Pena: I think you need to get…
• 11:50
  Tad Eggleston: Forgive your mother, and you'll learn to love yourself.
• 11:54
  Maria Pena: Yeah.
• 11:54
  Tad Eggleston: Give your mother, and you will learn to love your children.
• 12:01
  Maria Pena: Yep.
• 12:02
  Tad Eggleston: But then it's… I bet there are times when you're glad you don't understand English.
• 12:08
  Maria Pena: Yeah, she didn't really understand.
• 12:12
  Maria Pena: No, but she does say later that she understood.
• 12:14
  Tad Eggleston: Yeah, she kind of lets on that she may have understood more than she let on.
• 12:19
  Maria Pena: They look… yeah, yeah, exactly.
• 12:23
  Tad Eggleston: You know…
• 12:28
  Tad Eggleston: Noble tax deductions and that super va-a-voom figure, too.
• 12:36
  Maria Pena: All the… I like that panel with the three… three different types of boobs.
• 12:43
  Marisol: Yeah.
• 12:45
  Maria Pena: Thank you.
• 12:45
  Marisol: Three different body types.
• 12:47
  Maria Pena: reduction… Luba with her big… perky ones, I guess. Of course, they held up.
• 12:57
  Maria Pena: And then Fritz.
• 12:59
  Maria Pena: But, you know, he just does a great job with what he does.
• 13:06
  Tad Eggleston: He's definitely a scholar of boobs.
• 13:11
  Marisol: Oh yes, we've seen that much over the years.
• 13:14
  Maria Pena: He's definitely studied them, and .
• 13:20
  Tad Eggleston: Is that how I should introduce him the next time he's on? The world's foremost scholar of boobs.
• 13:28
  Tad Eggleston: Better, you know I'm saying it lovingly.
• 13:35
  Tad Eggleston: And a little jealously, how do you get that job?
• 13:39
  Maria Pena: And, you know, look at Ophelia there, you know, like, Ophelia's another set of very different… I mean, it's great.
• 13:47
  Tad Eggleston: Huge nipples.
• 13:50
  Maria Pena: Where he was, yes.
• 13:53
  Maria Pena: small little puppies.
• 13:57
  Maria Pena: Good, so… Ladies.
• 14:00
  Tad Eggleston: I love the contained smile.
• 14:04
  Tad Eggleston: on… on little Luba's face as she's walking between the two of them.
• 14:10
  Maria Pena: Hmm.
• 14:12
  Maria Pena: Yeah, it's just kinda…
• 14:15
  Tad Eggleston: That, that I am listening way more than you guys are giving me credit for, look.
• 14:20
  Maria Pena: Yeah.
• 14:27
  Tad Eggleston: And I'm excited for this next…
• 14:30
  Tad Eggleston: Or actually, I think this is for Luba7, so I think this is actually the ad page for a book that we've read already.
• 14:36
  Maria Pena: Yes.
• 14:38
  Tad Eggleston: Yeah.
• 14:40
  Maria Pena: That's right. I can't believe how prolific Beto is. It is crazy. I mean, he's…
• 14:48
  Tad Eggleston: And I love the back cover, too.
• 14:51
  Marisol: Oh, this back cover's awesome.
• 14:53
  Tad Eggleston: Yeah.
• 14:55
  Marisol: Little baby Luba and… Baby Luba.
• 14:58
  Tad Eggleston: Yeah, dancing with Ophelia is just…
• 15:01
  Maria Pena: That's great.
• 15:02
  Marisol: That's so cute.
• 15:04
  Tad Eggleston: Yeah.
• 15:07
  Maria Pena: Alright.
• 15:10
  Maria Pena: Oh yeah, smoothies.
• 15:22
  Tad Eggleston: I love this Roy cover.
• 15:24
  Maria Pena: Yes.
• 15:25
  Tad Eggleston: Roy and Roy, and some more Roy. Long-nosed Roy, Snub-Nosed Roy, Pig-nosed Roy. Did you notice that all.
• 15:34
  Maria Pena: hair.
• 15:34
  Tad Eggleston: Boys have different noises… noses?
• 15:37
  Maria Pena: Yes, I do.
• 15:38
  Marisol: Hell yeah.
• 15:40
  Tad Eggleston: different noses.
• 15:42
  Maria Pena: Flat nose.
• 15:45
  Maria Pena: Pinos.
• 15:47
  Marisol: It's always a weird time when Roy's in the picture.
• 15:51
  Maria Pena: Oh, totally.
• 15:52
  Tad Eggleston: We start up with… we haven't seen Toko in so long.
• 15:56
  Tad Eggleston: And man, this… this… This story is… Weird.
• 16:05
  Marisol: It is.
• 16:05
  Maria Pena: And, they're in the big city, like.
• 16:08
  Tad Eggleston: Right.
• 16:08
  Maria Pena: It's like, what's Toko doing in the big city? And it's in that era when everybody was young, like Jesus, and…
• 16:14
  Maria Pena: Vicente, they're all young, and…
• 16:19
  Maria Pena: He's obviously gone to the city for, you know, a day in the city or whatever, and Tokyo gets,
• 16:27
  Maria Pena: molested, just…
• 16:29
  Tad Eggleston: Let's do the theater, but, like…
• 16:33
  Tad Eggleston: It's almost like, dude, I was watching a movie. Yeah, something happened, but I was watching a movie, and it's like…
• 16:42
  Maria Pena: Well, it could be denial, you know, like…
• 16:45
  Tad Eggleston: I don't… yeah, I don't know if that's supposed to be denial, if that's supposed to be, like, he was literally so…
• 16:53
  Marisol: Engrossed in the movie.
• 16:54
  Tad Eggleston: engrossed in the movie, that it was, like, whatever, or if it's… hopefully it's not some statement about liking it, I don't think it would be.
• 17:03
  Maria Pena: No, I didn't feel.
• 17:03
  Tad Eggleston: like a Beto's.
• 17:05
  Maria Pena: No, no.
• 17:07
  Tad Eggleston: He certainly doesn't defend the guy when the… when the… the… the other people come after him.
• 17:13
  Marisol: Yes.
• 17:15
  Tad Eggleston: He doesn't go, wait a minute, he was taking me for ice cream.
• 17:20
  Maria Pena: Yeah.
• 17:23
  Maria Pena: No, I think it's… it's that thing that kids do where they… he's blocked it, he's…
• 17:28
  Tad Eggleston: Right.
• 17:29
  Maria Pena: Dissociated, whatever.
• 17:31
  Marisol: everything.
• 17:31
  Maria Pena: movie.
• 17:32
  Maria Pena: You know, and it's…
• 17:35
  Maria Pena: And he goes… and he says, I want to go to the movies, you know, again.
• 17:39
  Tad Eggleston: It is definitely a love for the movies, too, because it's like, I want to go back.
• 17:45
  Maria Pena: Yeah.
• 17:47
  Maria Pena: But, you know, that's, that's true… that stuff happens and keeps…
• 17:52
  Tad Eggleston: Damn.
• 17:53
  Maria Pena: You know, maybe when they're adults, they're gonna go, oh, shit.
• 17:57
  Maria Pena: This happened, or…
• 17:59
  Maria Pena: You know, it's just… They're very resilient.
• 18:05
  Maria Pena: as well.
• 18:11
  Maria Pena: So, clear side.
• 18:13
  Tad Eggleston: I do… Love this Maggie story.
• 18:17
  Maria Pena: Yeah.
• 18:18
  Tad Eggleston: Call it a match.
• 18:18
  Maria Pena: Thank you, Story.
• 18:19
  Tad Eggleston: Because Hopi's really only on the first page.
• 18:23
  Tad Eggleston: Though the Maggie and Hopi part is great, even though Maggie's not on the page, she's just on the phone with Hopi.
• 18:30
  Tad Eggleston: And kind of impressive that whoever Hopey's sleeping with right now can just sleep through it all.
• 18:36
  Maria Pena: Like, nothing.
• 18:37
  Tad Eggleston: Nothing.
• 18:38
  Maria Pena: Didn't wake up.
• 18:39
  Tad Eggleston: Wake up with the ring, didn't wake up with any of the conversation.
• 18:43
  Maria Pena: Yeah, that's right.
• 18:45
  Tad Eggleston: But yeah, we had an earthquake.
• 18:49
  Maria Pena: Yeah.
• 18:51
  Maria Pena: And, this is a very… it's so naturalistic, and also, it's got the magic realism, which I love, this story.
• 19:03
  Maria Pena: So we start with really natural stuff.
• 19:06
  Maria Pena: And then, as soon as…
• 19:08
  Maria Pena: easy… Izzy gets involved, I guess, in a way. Even… Izzy's not even there, but her…
• 19:16
  Maria Pena: They're weird, kind of…
• 19:18
  Tad Eggleston: Ross took the other thing.
• 19:22
  Maria Pena: Yeah. She slashed her imprint.
• 19:26
  Marisol: Yep.
• 19:27
  Tad Eggleston: Maggie's trying to clean up after an earthquake, Vivian's both hiding out from her psycho ex, and bored and horny.
• 19:37
  Maria Pena: Yeah, she's got her little, yeah, she's got her designs on Maggie.
• 19:43
  Tad Eggleston: Right.
• 19:44
  Maria Pena: Doesn't everybody, I guess.
• 19:46
  Marisol: Yeah.
• 19:47
  Marisol: One or another.
• 19:48
  Maria Pena: Maggie.
• 19:49
  Maria Pena: And they have a superhero Living in the… Motel Alarma.
• 20:02
  Maria Pena: I love that… that sequence, when, maggie walked into…
• 20:09
  Maria Pena: into that scene of, of, Vivian on the floor.
• 20:15
  Maria Pena: Yes, it's heard, like, the rhythm of it.
• 20:18
  Tad Eggleston: Yeah, yeah.
• 20:18
  Maria Pena: Right? Because it's this moment of just observing, and then, where?
• 20:22
  Tad Eggleston: Right.
• 20:23
  Maria Pena: And oh, God, the kissing thing is fantastic, the different lips, I mean…
• 20:29
  Maria Pena: Feels great.
• 20:31
  Tad Eggleston: And then our digital copy had that twice, because they wanted to make certain that we really…
• 20:38
  Maria Pena: Yeah.
• 20:39
  Tad Eggleston: dug it in.
• 20:41
  Tad Eggleston: But then they're just…
• 20:44
  Maria Pena: And then we go to the weird…
• 20:46
  Maria Pena: the weird, kind of, easy moment there, where the easy crucifix has fallen, and the head… Jesus' head has fallen off, and…
• 20:56
  Maria Pena: In this sheet.
• 20:58
  Maria Pena: watches the larva returned the cat, and it's dead. And then later on, the cat's alive.
• 21:05
  Tad Eggleston: Except it's not.
• 21:07
  Maria Pena: Yeah.
• 21:09
  Maria Pena: Weird, weird.
• 21:13
  Maria Pena: A little bit of cheesecake.
• 21:18
  Maria Pena: It's funny.
• 21:19
  Maria Pena: Vivian's always got, you know, some posts where she's making the most of her assets.
• 21:25
  Tad Eggleston: Actually, I do love… I hadn't even noticed until right now, because you get to see Maggie's look first, and THEN Vivian Luda…
• 21:35
  Tad Eggleston: Yeah. Leaning over.
• 21:36
  Maria Pena: But he's.
• 21:37
  Tad Eggleston: Lower.
• 21:38
  Maria Pena: Is Maggie… is that look about Maggie, though? I don't… I mean, about Vivian. I think that look is about what Maggie was thinking beforehand, like, she…
• 21:47
  Tad Eggleston: I mean, it could be either. That's… that's one of the beauties of the way it's…
• 21:54
  Maria Pena: Yeah.
• 21:54
  Tad Eggleston: Positioned, because it's the page turn from the cat.
• 22:01
  Maria Pena: But then, I think.
• 22:03
  Tad Eggleston: And the very next panel is…
• 22:06
  Maria Pena: I think there's.
• 22:06
  Tad Eggleston: fully bent over, look at my ass, Vivian. Maggie, got anything that will fit me?
• 22:16
  Maria Pena: But I think there's, like, a… almost, like, it woke her up from her, you know, horror. It's like, oh, okay.
• 22:25
  Tad Eggleston: Like, it feels like it has too sharp of a mouth for the cat. Is that the cat, or is it some other.
• 22:31
  Maria Pena: That is the case.
• 22:32
  Tad Eggleston: Okay.
• 22:34
  Maria Pena: No, it's the cat, but it's, like, its eyes have been plucked out or something like that. Gotcha. It looks really, like, a horrible…
• 22:42
  Maria Pena: But then it's enough.
• 22:46
  Maria Pena: True.
• 22:48
  Tad Eggleston: Yeah, so much.
• 22:49
  Maria Pena: Sure, that big baby. The kid's stuff was,
• 22:56
  Maria Pena: But it's funny, isn't it? Because in this story with the kids' stuff, the big baby is, like, like this, or whatever it is, you know.
• 23:05
  Maria Pena: It is simply… Kind of hard to handle, but the mother…
• 23:12
  Maria Pena: But the kids kind of are not judgmental about it, you know?
• 23:19
  Maria Pena: like, at the end, they're saying the mother ran away, and they're kind of saying, why… why are there people like that? You mean, like, Arnold because of God? They go, no, like, their mom… like, his mom, why did she abandon him? And they go, oh, yeah.
• 23:35
  Tad Eggleston: Right.
• 23:36
  Maria Pena: That sucks.
• 23:42
  Maria Pena: So, yeah, it's a very compassionate thing.
• 23:46
  Maria Pena: Julio's Day.
• 23:47
  Tad Eggleston: Lives Day in the rain.
• 23:50
  Tad Eggleston: Just one page.
• 23:52
  Maria Pena: Yeah.
• 23:54
  Marisol: I do like the rain effect in the sky, though, on this page.
• 23:57
  Tad Eggleston: Oh, yeah.
• 23:58
  Maria Pena: Yeah.
• 23:59
  Maria Pena: The way, interrupts the blacks.
• 24:03
  Maria Pena: You can really feel it.
• 24:07
  Maria Pena: Yeah.
• 24:08
  Tad Eggleston: And then our…
• 24:11
  Marisol: Touch of Roy.
• 24:13
  Maria Pena: Ugh.
• 24:14
  Tad Eggleston: 4 pages, so it's… because, like, I did the math.
• 24:19
  Tad Eggleston: It's 220 panels of Roy in 4 pages.
• 24:24
  Maria Pena: Isn't it?
• 24:25
  Tad Eggleston: 55 panel pages.
• 24:30
  Maria Pena: You know, it's rushing through…
• 24:32
  Maria Pena: I was rushing to read this issue because I hadn't read it, and and I was like, okay, good, you know, I'm making good progress.
• 24:40
  Marisol: And then you get here.
• 24:41
  Maria Pena: They get here and go, oh, fuck.
• 24:45
  Maria Pena: This is the equivalent of reading, like, four issues. Four issues.
• 24:50
  Maria Pena: I broke it.
• 24:51
  Tad Eggleston: I mean, if you think about it, like, he regularly does 6 panel pages, and this is 220…
• 24:59
  Tad Eggleston: Panels, so that would be…
• 25:07
  Tad Eggleston: 40 pages?
• 25:10
  Marisol: Jesus.
• 25:11
  Maria Pena: Yeah, I was like, oh, crap.
• 25:15
  Marisol: history.
• 25:16
  Maria Pena: Oh, man.
• 25:19
  Tad Eggleston: But it's.
• 25:19
  Maria Pena: That's right.
• 25:20
  Tad Eggleston: It works. I mean, like, it's impressive to take panels that size and have it work not just as a story reading it, but, like, I like the page layouts.
• 25:31
  Maria Pena: Mmm.
• 25:32
  Maria Pena: Yeah.
• 25:34
  Tad Eggleston: You know.
• 25:35
  Maria Pena: It looks…
• 25:36
  Tad Eggleston: It looks cool just looking at it from a distance and not reading it, too. You get that feel of…
• 25:42
  Maria Pena: God.
• 25:43
  Tad Eggleston: You're actually getting an epic story in this really small space.
• 25:48
  Marisol: And I think just because everything is so small and kind of squished together, when I first saw this first page, I thought it was really overwhelming, just because, like, oh god, it looks so busy with the tiny panels, the tiny pictures, and the words.
• 26:06
  Maria Pena: And yet, there's a lot of, you know, spacious scenes and everything in between, especially that first space, just nice blacks, and there's a rhythm to it, you know?
• 26:16
  Tad Eggleston: Well, and…
• 26:17
  Maria Pena: And then some parano's Berserk.
• 26:20
  Tad Eggleston: I mean, just to… because, like, it's come up in a couple recent conversations, the way panels can be…
• 26:28
  Tad Eggleston: the way that, like, to slow down time, you actually use more panels, and to speed up time, you use less. Like, and this does both, you know? You'll have, like, 5 panels where, like, a year goes by.
• 26:43
  Tad Eggleston: And then you'll have, like, these bottom 50.
• 26:47
  Maria Pena: Frenzy.
• 26:48
  Tad Eggleston: Panels on the second page are essentially probably 10 seconds of fighting with the… The throat.
• 27:01
  Maria Pena: Frenzied… frenzied action, yeah.
• 27:04
  Tad Eggleston: Right.
• 27:05
  Tad Eggleston: Like…
• 27:07
  Tad Eggleston: And I love the page and a half of black panels with limited dialogue, where you have to just wonder what he got sent to do.
• 27:16
  Maria Pena: Mmm.
• 27:17
  Tad Eggleston: Oh, there is a way we can let you out for you earlier, we just have to put you down in this place. And he's clearly down in a long time, because he comes out emaciated with a long.
• 27:27
  Marisol: Oh, yeah.
• 27:28
  Tad Eggleston: That's beautiful.
• 27:29
  Maria Pena: Beard.
• 27:30
  Tad Eggleston: Yeah. Makes you go.
• 27:31
  Marisol: Been there for a minute.
• 27:33
  Tad Eggleston: Time off, or was he just down in that hole the entire time?
• 27:39
  Maria Pena: I think he was down there.
• 27:41
  Tad Eggleston: Right, the way the door cracks, just that little bit, ugh.
• 27:48
  Maria Pena: Mmm.
• 27:49
  Tad Eggleston: And then I felt for him, so…
• 27:51
  Maria Pena: Oh, my gosh.
• 27:51
  Tad Eggleston: when… when his…
• 27:54
  Maria Pena: His girlfriend's going.
• 27:55
  Tad Eggleston: The girl was with the guy. Did you really.
• 27:58
  Maria Pena: It's margarita.
• 27:59
  Tad Eggleston: Wait, Roy?
• 28:03
  Tad Eggleston: And…
• 28:03
  Maria Pena: And the other guy has gotten fat, and Roy has gotten thin. Yeah.
• 28:09
  Tad Eggleston: But then the ice cream, and even though it's just a headshot, you can tell that just that ice cream took him back to being Roy.
• 28:20
  Maria Pena: She filled up.
• 28:22
  Maria Pena: Oh, Jesus.
• 28:23
  Tad Eggleston: Yeah. This is one of my…
• 28:25
  Maria Pena: I love this.
• 28:26
  Tad Eggleston: It's… yeah.
• 28:28
  Tad Eggleston: I… I… this… this is just… this is pure genius.
• 28:33
  Maria Pena: Yeah, absolutely.
• 28:35
  Maria Pena: And it's, you know, it's in the vein and the tradition of the…
• 28:42
  Maria Pena: Underground comics, you know, like.
• 28:44
  Tad Eggleston: I guess.
• 28:44
  Maria Pena: just… It's the sort of thing you would see in a, you know.
• 28:49
  Maria Pena: You know, underground comics in the 70s… in the 60s… late 60s, 70s.
• 28:54
  Tad Eggleston: Yeah.
• 28:55
  Maria Pena: So cool.
• 28:57
  Tad Eggleston: Yeah.
• 28:59
  Maria Pena: And then we've got…
• 29:00
  Tad Eggleston: Peterson.
• 29:02
  Tad Eggleston: A stun.
• 29:04
  Tad Eggleston: A Danish film.
• 29:06
  Tad Eggleston: Something.
• 29:07
  Maria Pena: Or is it Mickelson.
• 29:10
  Tad Eggleston: Alright.
• 29:12
  Tad Eggleston: And then the next chapter of…
• 29:14
  Maria Pena: Yes.
• 29:16
  Tad Eggleston: Me for the unknown?
• 29:20
  Tad Eggleston: With a very Guy Fawkes-looking… A slaver.
• 29:27
  Maria Pena: Yes.
• 29:28
  Tad Eggleston: Actually, it's almost like…
• 29:30
  Maria Pena: Not recently.
• 29:32
  Tad Eggleston: No, okay, that's a mustache, not a nose. For a second there, I was like, is that Guy Fawkes and Cyrano de Berger?
• 29:42
  Tad Eggleston: But no, it's just a light-colored mustache.
• 29:46
  Maria Pena: Yes, yes, it is.
• 29:47
  Tad Eggleston: Kinda would have been funny if it had been Guy Fawkes and Cyrano de Brujiang.
• 29:54
  Maria Pena: Yeah, this is good stuff. Oh.
• 29:57
  Maria Pena: That…
• 29:57
  Tad Eggleston: Yeah, like the other volumes, I mean, I hate…
• 30:03
  Tad Eggleston: I hate making it sound like… like Mario is… is… lesser, because I'm certain that he's not a lesser human being. They… they like him a lot, but
• 30:15
  Tad Eggleston: He's not the genius storyteller, but when he works with… Beto.
• 30:20
  Maria Pena: Better.
• 30:21
  Tad Eggleston: Beto takes it to, to, to, like, a different level.
• 30:27
  Tad Eggleston: This art is good, it makes the story more interesting.
• 30:34
  Maria Pena: Yeah, I think the thing with Mario is that they're very dense stories, and, you know, there's a lot of names, and a lot of… and, you know, maybe we're…
• 30:44
  Maria Pena: Dumb.
• 30:46
  Tad Eggleston: Maybe, I… I think… and… and this isn't… this isn't an uncommon… thing among people I know.
• 30:54
  Tad Eggleston: that have writer's sensibilities, but haven't spent as much time on the craft, for that matter, I'm definitely guilty of it a lot myself with first drafts, is, like, there's so much that you want to get out that you're not good at stripping it apart to its essentials.
• 31:12
  Tad Eggleston: And…
• 31:13
  Maria Pena: like…
• 31:14
  Tad Eggleston: Deciding what needs to be there and what doesn't.
• 31:19
  Maria Pena: Yeah, I guess you need…
• 31:20
  Tad Eggleston: I feel like a lot of Mario stories are just, like, InfoDome.
• 31:27
  Maria Pena: Yeah, you gotta think like a, like a scriptwriter, you know, like, like a film, you have to show more than you.
• 31:35
  Maria Pena: And you have to put it in the… in the writing.
• 31:39
  Maria Pena: It has to be… Incorporated.
• 31:42
  Tad Eggleston: Look at this face.
• 31:46
  Tad Eggleston: The guy that's saying she's lying, Dario?
• 31:52
  Tad Eggleston: That's just…
• 31:55
  Maria Pena: I see Betos developing a cleaner… Yeah. He's using… is he using… he's not using digital easy at this point.
• 32:06
  Tad Eggleston: He uses digital even now.
• 32:08
  Maria Pena: No, but he's using… he's not doing brush. I think he's using something else.
• 32:14
  Tad Eggleston: Yeah, I think he…
• 32:15
  Maria Pena: And those are not thinner.
• 32:16
  Tad Eggleston: Yeah, I think he uses more pens for inking.
• 32:21
  Maria Pena: Hmm.
• 32:22
  Maria Pena: I think it came up one of the times.
• 32:24
  Tad Eggleston: I was talking.
• 32:26
  Tad Eggleston: I mean, he does use brushes for some things, but I think…
• 32:29
  Maria Pena: I think he said that.
• 32:30
  Tad Eggleston: Jaime's… Jaime's the one that's more… Crazy about using brushes.
• 32:37
  Tad Eggleston: I did dig the… the… the Maggie tattoo.
• 32:41
  Tad Eggleston: In the letters page.
• 32:43
  Maria Pena: Oh, yeah.
• 32:47
  Maria Pena: We need a fatter arm on that one.
• 32:51
  Tad Eggleston: And then the, the…
• 32:52
  Maria Pena: back page.
• 32:52
  Tad Eggleston: Maggie.
• 32:54
  Tad Eggleston: Vado's Gold.
• 32:56
  Tad Eggleston: America's True Beer.
• 33:04
  Marisol: I really like that back cover a lot.
• 33:06
  Tad Eggleston: It's…
• 33:07
  Maria Pena: Yeah.
• 33:09
  Marisol: That's lovely.
• 33:10
  Tad Eggleston: She's a very quintessential Maggie.
• 33:13
  Marisol: This is my favorite panel of this book.
• 33:16
  Maria Pena: the difference?
• 33:17
  Maria Pena: I never thought of her hair as being that color.
• 33:21
  Maria Pena: Kind of like auburn, or something, whatever that color is.
• 33:25
  Maria Pena: Hmm.
• 33:26
  Tad Eggleston: Yeah, I think I'd always thought of it as darker, too.
• 33:30
  Maria Pena: Well…
• 33:31
  Tad Eggleston: She also strikes Somebody that might change her hair on a regular basis.
• 33:36
  Maria Pena: Hmm.
• 33:37
  Maria Pena: Hmm, yeah.
• 33:39
  Tad Eggleston: I mean, I feel like… I actually feel like both she and Hopi might change their hair on a semi-regular basis, but, like, Maggie changes it between somewhat natural colors, and Hopi's hair is sometimes blue or purple or green.
• 33:56
  Maria Pena: Hmm. But, hobbies… Your hair is always… you know, painting. It's always…
• 34:05
  Maria Pena: part of the blacks, like, she never goes light. Maggie's gone light for a while at the moment, but I…
• 34:10
  Tad Eggleston: Yeah, yeah.
• 34:11
  Maria Pena: some reason, I… I thought.
• 34:13
  Maria Pena: I don't know what I thought. I don't think about these things when I'm looking at the line work. I just… okay, slight hair, but when you see it in color, it's very definite. You kind of go, oh, you know.
• 34:25
  Maria Pena: I didn't expect that color.
• 34:28
  Maria Pena: It's funny, when it's in black and white, It doesn't even… it's just… light-colored hair.
• 34:36
  Maria Pena: I don't think, oh, is it blonde, is it pink, is it…
• 34:40
  Maria Pena: light blue, you know, I don't care. But when you put the color down, you go, oh.
• 34:47
  Maria Pena: Okay, it's a little, like, light brown.
• 34:51
  Maria Pena: Or whatever that is, yeah. It's odd. It's like, oh, that doesn't look like Maggie anymore.
• 34:57
  Maria Pena: Because when you squint, it's a dark color.
• 35:01
  Maria Pena: You know, it's… Yeah.
• 35:05
  Maria Pena: So, it should be… Should be lighter, I think.
• 35:12
  Maria Pena: Hmm.
• 35:14
  Maria Pena: Yeah, great, great, great issue. I think.
• 35:17
  Maria Pena: The Roy Story was my favorite thing about it. Oh, well, and the Maggie story.
• 35:24
  Marisol: The Roy Story was a lot of fun, for sure.
• 35:27
  Maria Pena: mine.
• 35:27
  Tad Eggleston: The right… right story.
• 35:30
  Tad Eggleston: I am…
• 35:30
  Maria Pena: Hannah.
• 35:31
  Tad Eggleston: I don't know how I'd managed to…
• 35:34
  Tad Eggleston: Because I know I've read the Roy story before, but I… I had completely forgotten about it.
• 35:41
  Maria Pena: Right.
• 35:42
  Tad Eggleston: Until I saw it here, and I'm like, how did I forget something this freaking cool?
• 35:48
  Maria Pena: Yeah.
• 35:52
  Maria Pena: Yeah.
• 35:54
  Tad Eggleston: Oh.
• 35:54
  Maria Pena: I mean, Roy is such a nice guy, and he, like, you know…
• 35:58
  Maria Pena: He's covering up for his friend, and… For his co-worker, and he…
• 36:04
  Tad Eggleston: Well, except…
• 36:04
  Maria Pena: Let's, let's sit on the ground.
• 36:06
  Maria Pena: No.
• 36:07
  Tad Eggleston: Because I had to go back and read it again, because I…
• 36:10
  Maria Pena: They're both.
• 36:11
  Tad Eggleston: I… no, I think… because the guy who's breaking into the safe is like…
• 36:18
  Maria Pena: He's an office worker.
• 36:20
  Tad Eggleston: Well, no, I think he's actually a thief, because Roy goes, oh, Mr. Whatever? And he's like, you work here? Yeah, okay, he said something like, are you new here? .
• 36:33
  Maria Pena: Cheers.
• 36:33
  Tad Eggleston: like, it felt to me… let me go back and look at it. It felt to me like he's like, yeah, yeah, I'm that guy.
• 36:45
  Tad Eggleston: Cause it's…
• 36:48
  Maria Pena: I don't know.
• 36:49
  Tad Eggleston: You, Hargreaves, do you have it?
• 36:53
  Maria Pena: I've been with the firm life.
• 36:55
  Tad Eggleston: Long, Roy.
• 36:58
  Maria Pena: No, because it was you, Hargraves, like, you, you, you're doing this, you know, like, because he's opening the safe, so… but Roy is the… is the, the guard, you know, he's a… he's the…
• 37:11
  Tad Eggleston: Yeah.
• 37:12
  Maria Pena: He's a security guard, and… but he tries to… but he doesn't want to, you know,
• 37:19
  Maria Pena: Denouncing to the…
• 37:23
  Tad Eggleston: Yeah.
• 37:24
  Maria Pena: cops, and he takes him out for a night of fun. Ice cream. Don't worry about it, ice cream and dancing, and…
• 37:31
  Tad Eggleston: Is it, is it, is it dancing, or is it…
• 37:34
  Maria Pena: For the concerts.
• 37:35
  Tad Eggleston: What's your show?
• 37:36
  Maria Pena: Oh, yeah, it is.
• 37:37
  Tad Eggleston: Let's do the time work again.
• 37:40
  Maria Pena: It is the picture show there, so yeah, that's right. You're right.
• 37:50
  Maria Pena: But particularly…
• 37:51
  Tad Eggleston: Ideally because, like, he runs away and doesn't come back. That's one of the reasons I wondered, like, did he actually rob the place? Was he Hargreaves?
• 38:02
  Maria Pena: Yeah.
• 38:05
  Maria Pena: Well, he thought that Hargraves was going to give himself up, but Hargraves, ran away.
• 38:14
  Maria Pena: And, the robber as well. He tells me that no.
• 38:18
  Maria Pena: You know, give you.
• 38:19
  Tad Eggleston: Go to the police station and tell them, here's your gun, now go to the police station.
• 38:23
  Maria Pena: She's…
• 38:24
  Tad Eggleston: And tell them everything.
• 38:26
  Maria Pena: So he's really naive and a really good guy, and then in jail, he becomes this sort of…
• 38:34
  Tad Eggleston: Right.
• 38:35
  Maria Pena: He, he, he finds it, you know, that he kills people, and…
• 38:41
  Maria Pena: Like, they spot in the riot, and…
• 38:44
  Maria Pena: But then he saves the, the co… the…
• 38:50
  Maria Pena: I mean, he's just a nice guy, Roy, you know, even though while he was in jail, he had to do some things.
• 38:59
  Tad Eggleston: It took time.
• 39:01
  Tad Eggleston: Yeah, it wasn't.
• 39:01
  Maria Pena: Until the.
• 39:02
  Tad Eggleston: throat showed up.
• 39:03
  Tad Eggleston: That he really…
• 39:05
  Maria Pena: Yeah, he kind of…
• 39:07
  Tad Eggleston: Because, like, he got time knocked off because, like, when he was in the… in the bus, he didn't.
• 39:12
  Maria Pena: Twitter.
• 39:12
  Tad Eggleston: Didn't join in the trying to get out.
• 39:19
  Maria Pena: No, he was trying to be, and then…
• 39:24
  Maria Pena: Until someone said, Roy, you fuck, grab your fucking wheel, and he decides to…
• 39:30
  Maria Pena: I love the panel of his nose and his teeth when he's sweating.
• 39:34
  Tad Eggleston: Yeah.
• 39:36
  Tad Eggleston: Yeah, yeah.
• 39:38
  Maria Pena: Extreme close-up of his face.
• 39:43
  Maria Pena: I don't know, it's great stuff.
• 39:45
  Tad Eggleston: Oh, God.
• 39:49
  Tad Eggleston: I also love, Judith's Eyes.
• 39:53
  Tad Eggleston: When she's saying, do you really expect me to wait?
• 39:56
  Tad Eggleston: Roy?
• 39:58
  Maria Pena: Yeah, you're wearing glasses.
• 40:06
  Maria Pena: Oh, this is gonna be a doozy for finding… for choosing a panel.
• 40:12
  Tad Eggleston: Ugh.
• 40:13
  Maria Pena: So many.
• 40:14
  Maria Pena: So many panels in this.
• 40:16
  Tad Eggleston: There are.
• 40:17
  Maria Pena: And this.
• 40:25
  Tad Eggleston: I think my winners both come from this issue, though.
• 40:29
  Maria Pena: As much as.
• 40:29
  Tad Eggleston: I loved the affiliate issue.
• 40:32
  Tad Eggleston: I think, I think my winners both come from this issue.
• 40:36
  Maria Pena: Yeah.
• 40:40
  Tad Eggleston: Are we re- are we ready to talk some panels?
• 40:43
  Maria Pena: Yep.
• 40:44
  Marisol: Yeah.
• 40:45
  Tad Eggleston: Alrighty.
• 40:47
  Tad Eggleston: So, let me… I pulled up the document. Let me pull it into it.
• 40:53
  Maria Pena: Leave that page on there, that's my favorite page.
• 40:56
  Tad Eggleston: Okay, it is a good page.
• 40:59
  Maria Pena: So, that sequence when Maggie walks into Vivian on the floor, and then sees different angles of Maggie just looking at her, and Vivian's…
• 41:08
  Maria Pena: And then suddenly there's this burst of action where Vivian grabs her by the throat.
• 41:13
  Tad Eggleston: So, like…
• 41:14
  Maria Pena: servers.
• 41:15
  Maria Pena: The, like, the whole… the whole…
• 41:19
  Tad Eggleston: The first 6 pa- panels, or the whole page?
• 41:21
  Maria Pena: the first… first six panels, and I think they're the… yeah.
• 41:26
  Maria Pena: I think that… that really struck me when I saw it. I was like, Like, the rhythm of it.
• 41:34
  Maria Pena: I mean, there's so many.
• 41:37
  Tad Eggleston: Yeah.
• 41:39
  Maria Pena: bit.
• 41:40
  Maria Pena: I quite like that.
• 41:43
  Tad Eggleston: I, I.
• 41:49
  Maria Pena: What happened?
• 41:50
  Tad Eggleston: I somehow accidentally closed the.
• 41:55
  Marisol: Oh no.
• 41:56
  Tad Eggleston: The thing being shared, and therefore it…
• 42:00
  Tad Eggleston: So, give me just a moment, we'll get it back.
• 42:11
  Tad Eggleston: I'm torn, because I… I could go with literally the next panel, because I really…
• 42:24
  Tad Eggleston: Really like the seventh panel on this page.
• 42:28
  Tad Eggleston: The… the…
• 42:31
  Tad Eggleston: you are daft, and you are warm and soft and cuddly, and no wonder Hopi likes to roll around with you.
• 42:39
  Maria Pena: It's beautifully designed, that panel.
• 42:43
  Maria Pena: Yeah.
• 42:43
  Tad Eggleston: But I think my winner.
• 42:45
  Maria Pena: Oh, this is the…
• 42:47
  Tad Eggleston: What?
• 42:49
  Tad Eggleston: He said, but…
• 42:51
  Maria Pena: Oh.
• 42:52
  Maria Pena: Oh, nothing. But there's so many others. There's so many others.
• 42:56
  Tad Eggleston: There are so many. There's so many. I think my winner… Among so many great panels, Is… is that…
• 43:06
  Maria Pena: Oh, yeah.
• 43:07
  Tad Eggleston: Maggie, is it Maggie looking at Viv's ass, or is this Maggie's response to having seen the cat on the porch?
• 43:18
  Maria Pena: It's very Hitchcock panel, like, Psycho, you know, like, it's fantastic.
• 43:24
  Tad Eggleston: Yeah.
• 43:25
  Tad Eggleston: Yeah.
• 43:27
  Tad Eggleston: The, the, the shocked… Shock and Awe Maggie. We're gonna call it Shock and Awe Maggie.
• 43:34
  Marisol: That's a good one.
• 43:38
  Marisol: That's good enough.
• 43:39
  Tad Eggleston: Marisol, do you have… Jaime.
• 43:43
  Marisol: Mine… mine has to be the back cover. The full back cover, Maggie.
• 43:49
  Marisol: It's just, it's gorgeous.
• 43:55
  Tad Eggleston: It… it is another…
• 44:02
  Tad Eggleston: with… with… Beto, it was so hard.
• 44:08
  Maria Pena: Hmm.
• 44:09
  Tad Eggleston: Because there was… I mean, first of all, I mean, we have so much more Beto to choose from.
• 44:13
  Maria Pena: Right now? We do.
• 44:17
  Tad Eggleston: But I am gonna… gonna… I am… I am gonna somehow stick to one panel, even.
• 44:25
  Maria Pena: And it's…
• 44:27
  Tad Eggleston: the last panel of Roy.
• 44:32
  Maria Pena: Oh, yeah.
• 44:33
  Tad Eggleston: The smile, the filled out again, the, like…
• 44:38
  Maria Pena: the shininess.
• 44:39
  Tad Eggleston: Aura, the shine, yeah.
• 44:44
  Tad Eggleston: it… it just… yeah.
• 44:50
  Tad Eggleston: It's… it's everything that it should be, and more.
• 44:56
  Maria Pena: Yeah…
• 44:58
  Maria Pena: I'd have to go with a sequence, and it will be from Roy, and it's when the bus… the aerial view of the bus.
• 45:06
  Maria Pena: And then a…
• 45:07
  Maria Pena: The extreme close-up on his face, covered in sweat and the grinding teeth, and then the bus goes over the edge.
• 45:18
  Maria Pena: So, wait a moment.
• 45:19
  Tad Eggleston: like… the, the…
• 45:21
  Maria Pena: I know the aerial from where the aerial, shot of the bus, where he's going, screech!
• 45:27
  Maria Pena: You know, it's just after he takes the wheel, basically, yeah.
• 45:31
  Tad Eggleston: So, so we're gonna, we're gonna, we're gonna, we're gonna start midline. Does it go until the…
• 45:37
  Maria Pena: Until it goes poop, and it disappears. Yay.
• 45:41
  Tad Eggleston: So it's essentially one line, but starting in the middle, and… So, so from panel… Four in line…
• 45:50
  Tad Eggleston: 5 to panel 3 in line 6.
• 45:56
  Maria Pena: Yeah, 4-4, actually. Oh, no, was it 5? Oh yeah, 5, you're right. 5 in 6, yeah.
• 46:04
  Maria Pena: Yeah.
• 46:06
  Maria Pena: I thought that was… that's,
• 46:09
  Tad Eggleston: No. It is. Well, and that's… that's something that actually reminds me of, is… If you'd done it…
• 46:17
  Tad Eggleston: up and down, rather than across. It would almost be like…
• 46:22
  Tad Eggleston: Watching a film by looking at the panel-by-panel role.
• 46:27
  Maria Pena: Yeah.
• 46:28
  Tad Eggleston: you know… Except, obviously, the panels.
• 46:34
  Tad Eggleston: aren't.
• 46:35
  Tad Eggleston: Just a little bit different from…
• 46:41
  Maria Pena: Well, they're different camera angles, so it's aerial, it's extreme close-up, then it sort of got a profile on the bus just going there, and then it's
• 46:50
  Maria Pena: Up from above again, like, dead on from above, looking straight down, down a cliff.
• 46:56
  Maria Pena: In fact, and then the… Foof.
• 46:59
  Maria Pena: And the bus hits, I guess, vegetation or whatever.
• 47:04
  Tad Eggleston: Yeah.
• 47:05
  Maria Pena: And the sound effect, you know, like… I mean, it's just genius. Ms.
• 47:19
  Maria Pena: Maybe.
• 47:23
  Maria Pena: Roy killing the frog or whatever, that was pretty crazy.
• 47:28
  Maria Pena: Just before this.
• 47:31
  Maria Pena: Hmm.
• 47:35
  Tad Eggleston: So cool. So cool.
• 47:36
  Maria Pena: And Marisole.
• 47:40
  Marisol: I'm gonna say… Let's see…
• 47:46
  Marisol: Can you go to the next page after this?
• 47:53
  Marisol: Like that, last stripped from when they say, you're free.
• 48:02
  Marisol: To when he's, like, getting his hair cut.
• 48:06
  Marisol: He's showing Roy coming out.
• 48:09
  Tad Eggleston: So you're splitting, too.
• 48:11
  Marisol: Yeah.
• 48:12
  Tad Eggleston: You're, you're going panel 3… to Panel 2…
• 48:18
  Tad Eggleston: And… and…
• 48:20
  Maria Pena: Oh, but you gotta include the sliver of opening door, I mean, that's awesome.
• 48:25
  Tad Eggleston: Yeah, no, I agree.
• 48:27
  Tad Eggleston: So you should go Panel 2.
• 48:29
  Maria Pena: Promatic.
• 48:30
  Marisol: I bet.
• 48:31
  Tad Eggleston: Lines 1, 2, 3, 4, 5, 6, 7, and 8.
• 48:40
  Maria Pena: Perfect.
• 48:40
  Marisol: Perfect.
• 48:42
  Marisol: Ugh.
• 48:50
  Maria Pena: Oh, the old king from Roy.
• 48:54
  Tad Eggleston: Well, I mean, we had 220 panels to choose from.
• 49:07
  Maria Pena: Hi, that's a mammoth undertaking.
• 49:12
  Tad Eggleston: Like, my, my, definitely a question to ask him would be, like, did you do it on normal-sized paper? Or did you use a bigger board?
• 49:22
  Maria Pena: Mmm…
• 49:24
  Tad Eggleston: I mean, did you draw that much smaller?
• 49:27
  Tad Eggleston: Or did you give yourself some… some room to work?
• 49:31
  Maria Pena: Mmm.
• 49:34
  Maria Pena: Yeah, I mean, from…
• 49:37
  Tad Eggleston: It's like, it's it.
• 49:37
  Maria Pena: I could see…
• 49:38
  Tad Eggleston: Go any other way?
• 49:39
  Maria Pena: Yeah.
• 49:45
  Tad Eggleston: But…
• 49:45
  Maria Pena: I wanted to see if he'd done it on bigger paper.
• 49:50
  Maria Pena: it would have taken twice as long. It's just, I think because…
• 49:56
  Tad Eggleston: Does it always, though?
• 49:58
  Maria Pena: Yes… well, whether it's morning team or everything, you know, imagine, I don't know.
• 50:07
  Tad Eggleston: Because I'm just thinking that… I mean, and I don't draw regularly, but I'm thinking that I know a lot of the things that I do do, the more fine-tuned that I get.
• 50:18
  Tad Eggleston: Like, I have to be slower to be precise.
• 50:25
  Maria Pena: They're almost like thumbnails. Some of the drawings are very simple, like, if you blow them up, they are.
• 50:33
  Tad Eggleston: Yeah.
• 50:33
  Maria Pena: quite simple.
• 50:36
  Maria Pena: Yeah, I don't know.
• 50:40
  Maria Pena: I have a feeling he used regular paper.
• 50:45
  Maria Pena: Maybe it was a bigger sheet, but… Not proportionality.
• 50:51
  Tad Eggleston: Oh, no, I, I, I, I, I…
• 50:53
  Tad Eggleston: I don't think that it would be, like… Oh, we're doing…
• 51:01
  Tad Eggleston: I don't think it would even be, like, a double-page put.
• 51:05
  Maria Pena: No.
• 51:06
  Tad Eggleston: upright rather than sideways, but, like, I could see if he normally uses what?
• 51:14
  Tad Eggleston: I don't know my… my terms well enough, but…
• 51:17
  Maria Pena: A3, or…
• 51:18
  Tad Eggleston: Yeah, if he normally uses A3, moving up to, like, A2.
• 51:23
  Maria Pena: Well, I could still make treason.
• 51:26
  Maria Pena: Okay. What?
• 51:28
  Maria Pena: A2 is AA3.
• 51:31
  Tad Eggleston: Is it?
• 51:31
  Maria Pena: Yeah.
• 51:34
  Tad Eggleston: That's right, that's how they all work.
• 51:37
  Maria Pena: Yeah.
• 51:39
  Maria Pena: Yeah, so I don't know. I have a feeling he… Yeah.
• 51:46
  Tad Eggleston: Yeah.
• 51:46
  Maria Pena: Oh, maybe somewhere in between, who knows?
• 51:49
  Tad Eggleston: Yeah.
• 51:50
  Tad Eggleston: Is, is, is there a… a A2 and a half?
• 51:56
  Maria Pena: But maybe cut it, you know? Maybe just proportional, maybe 20% higher, bigger, or whatever.
• 52:02
  Tad Eggleston: Yeah.
• 52:04
  Maria Pena: I don't know, I have a feeling it's probably just a regular size.
• 52:08
  Tad Eggleston: Then that's where I also have to remind myself that the… that the standard drawing board is bigger than the book that we see.
• 52:16
  Maria Pena: That's so…
• 52:18
  Tad Eggleston: So, when I think of it that way, he might not need to go bigger, because…
• 52:25
  Maria Pena: Yeah.
• 52:26
  Tad Eggleston: So… so rude.
• 52:27
  Maria Pena: drawing at this size, you know, like, that we're looking at. Right. He's drawing… he's still drawing twice as big as that.
• 52:35
  Tad Eggleston: Yeah.
• 52:37
  Maria Pena: Thank you.
• 52:38
  Maria Pena: A little bit of space, too.
• 52:39
  Maria Pena: In fact, it'd be like the size of…
• 52:43
  Maria Pena: Yeah, my storyboard panels, I guess, I don't know.
• 52:47
  Maria Pena: I work digitally, so I can't compare, actually, so… Right. Don't worry about that. Don't pay attention to what I say. Stupid.
• 52:56
  Tad Eggleston: No, no, it's why it's nice to have an artist on the, on the…
• 53:01
  Tad Eggleston: on the show every week, because, like, I get informed thoughts on some of
• 53:07
  Tad Eggleston: Some of the things that seem just insane to me.
• 53:10
  Maria Pena: informed.
• 53:13
  Tad Eggleston: Better informed than me.
• 53:16
  Tad Eggleston: Anyway, it was so great to be able to do some Love and Rockets this week. We'll definitely be taking next week off, hopefully we can… we can reconvene two weeks from now. Next week, anybody in Chicago, I will be at C2E2. I have four panels, one on…
• 53:33
  Tad Eggleston: Friday, 2 on Saturday, and 1 on Sunday, so come looking for me.
• 53:37
  Maria Pena: Fuck.
• 53:39
  Tad Eggleston: And for the Love & Rockets Book Club on 22 Panels, we will see you after the next page.