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Heavy Metal Book Club #43 - Metal Hurlant (2025) #5 · 22 Panels - A Comic Book Podcast

• 0:00
  Tad Eggleston: There we go.
• 0:02
  Tad Eggleston: Good evening, everybody! Welcome back to the Heavy Metal Book Club on 22 Panels.
• 0:09
  Tad Eggleston: Before we discuss, the most recent issue of Metal Erlant.
• 0:17
  Tad Eggleston: number 5 of this edition. First, I wanted to let, Dillon plug his, his current Kickstarter for, My Neighbor Necromancer.
• 0:28
  Tad Eggleston: Issue 4. 1 to 4 if you were silly and didn't buy the first three. If you're new to 22 Panels and haven't heard us plug the hell out of this book multiple times, that sort of thing. Take it away, Dylan.
• 0:40
  Dillon Gilbertson: Yeah, thanks, I… unexpected, I gotta think quick on my feet.
• 0:45
  Tad Eggleston: I know you've got a front counter pitch, you gave it to me already. Go back and listen to the conversation that we… Oh, yeah.
• 0:53
  Dillon Gilbertson: So, My Neighbor Necromancer issue 4 is currently live on Kickstarter. We're about 60% of the way there, but that's a lot of ground to cover.
• 1:00
  Dillon Gilbertson: The book is about a young girl who finds herself in the middle of a battle between good and evil necromancers, and now she has to learn to raise the dead to save the world with her pet lizard bibbets. And so if you…
• 1:14
  Dillon Gilbertson: If you're a fan of,
• 1:17
  Dillon Gilbertson: of the kind of creative weirdness that comes with, those, those 90s, kids' movies that might have been slightly, slightly on the upper end of edgy for kids, things like The Dark Crystal, Labyrinth, things like that, then you're… you'd love My Neighbor Necromancer, and as Tad said.
• 1:36
  Dillon Gilbertson: It, the first three issues are also available through the Kickstarter, and so if you're new to the series, then it's easy for you to catch up, and we'll welcome you to the family.
• 1:45
  Tad Eggleston: That's a good analogy, I think. I don't think I'd managed to think of it that way before, but yeah, no, if you're into the weird, not-for-all-kids, but for most kids.
• 1:59
  Tad Eggleston: stuff like Dark Crystal… Labyrinths.
• 2:03
  Tad Eggleston: something wicked with a sway comes, that sort of thing. This is… this is…
• 2:07
  Tad Eggleston: This is for you, for your kids, whatever. Also launching soon on Kickstarter, I want to give a shout-out to,
• 2:16
  Tad Eggleston: My friend Tom Kaczynski and his Uncivilized Books are launching Drake!
• 2:22
  Tad Eggleston: It's a quarterly sci-fi fantasy comic book magazine filled with international indie creators,
• 2:31
  Tad Eggleston: 100 plus pages, ongoing is the plan.
• 2:36
  Tad Eggleston: Featuring in issues 1 and 2, Matthias Bergera, Michael DeForge, Richie Pope, James Romberger, Delphina Perez-Adon, Tom Neely, Keenan Marshall Keller, Glow Dark, Suzanne Jana, Jean-Marc Assen, Tom Kaczynski, Maxim Guerin.
• 2:52
  Tad Eggleston: Al Gopher, Ronald Wimberly, Guillama Gariba, Emmanuel Lantam, Tim Peacock, Ylang Labatt, Kevin Catalan, and Jake Zolacci.
• 3:07
  Tad Eggleston: So, so, it says that… oh, wait, it says it launches September 25th.
• 3:16
  Tad Eggleston: Oh, snap. Well, that's coming up. So, coming up this week.
• 3:21
  Tad Eggleston: Assuming I get this posted in a timely manner, I'm behind a little bit on getting episodes posted, so who knows? Maybe by the time this posts, it will be live, but
• 3:32
  Tad Eggleston: Tom… Tom publishes just amazing work at Uncivilized. Uncivilized is one of those publishers that, like.
• 3:38
  Tad Eggleston: I barely need to know the description before I know I want to read it.
• 3:44
  Tad Eggleston: So the idea that he's gonna put together an anthology of sci-fi and…
• 3:49
  Tad Eggleston: fantasy, excites me a lot, and I'm certain that we will be, reviewing it on this… this very book club podcast, along… along with, our metal, Erlant, and Heavy Metal, because it fits right into that, window.
• 4:05
  Tad Eggleston: So, go to Kickstarter right now, look up the dregs.
• 4:10
  Tad Eggleston: And hit that saved button so that you'll be notified upon launch.
• 4:16
  Tad Eggleston: So, how's it going, everybody?
• 4:21
  Matt: Good as it can go.
• 4:23
  Dillon Gilbertson: There you go.
• 4:24
  Dillon Gilbertson: Starting to cool down, which I love.
• 4:27
  Tad Eggleston: Anybody with, opening thoughts on… on… Metal Erlant 5.
• 4:33
  Tad Eggleston: Passing through.
• 4:35
  Peter Eggleston Connor: I mean, I thought the theme of this one, I mean, it's kind of cool that they always put the theme as the subtitle for whatever it is, and passing through has been…
• 4:45
  Peter Eggleston Connor: It's kind of an interesting theme, like.
• 4:47
  Peter Eggleston Connor: I feel like there are comics in here I definitely like, but it's… it's a little bit like…
• 4:54
  Peter Eggleston Connor: I mean, part of it was… I freely admit, I…
• 4:58
  Peter Eggleston Connor: read this last week when I was rushed for time,
• 5:04
  Tad Eggleston: And then we push back a week.
• 5:06
  Peter Eggleston Connor: Yeah, and then it got pushed back a week.
• 5:08
  Peter Eggleston Connor: Which means I had more time, I probably should have gone back and read through the…
• 5:13
  Tad Eggleston: We don't like should, could have, but had other things that were of equal importance, or greater importance.
• 5:20
  Peter Eggleston Connor: Could have.
• 5:22
  Peter Eggleston Connor: I'm back.
• 5:22
  Tad Eggleston: I mean.
• 5:23
  Peter Eggleston Connor: Baby, and right through the,
• 5:27
  Peter Eggleston Connor: foraging of the metals, and I… I didn't, so…
• 5:31
  Peter Eggleston Connor: I… I get a kind of sense of, like, what this…
• 5:36
  Peter Eggleston Connor: Like, passing through means, like, it always seems to be sort of like,
• 5:43
  Peter Eggleston Connor: Some sort of voyage, or some sort of, like, you know, I mean, I feel like…
• 5:50
  Peter Eggleston Connor: A lot of this feels either like voyages or hotels.
• 5:55
  Tad Eggleston: It is definitely hotel heavy.
• 5:57
  Dillon Gilbertson: So yeah, so on that note, I was super jazzed when I read the foreword for it, or, like, the opening bit, where it described the, the theme.
• 6:09
  Dillon Gilbertson: And it was talking about liminal spaces, and I was like, I was like, cool, that's a dope, dope idea for… for a theme. And it was talking about…
• 6:18
  Dillon Gilbertson: How sometimes you go on a journey, or you go… you travel, and then soon the traveling stops becoming the goal, or, like, the mission of the traveling stops being relevant, and what becomes relevant is the place itself, and the place itself starts to affect you, as opposed to you
• 6:34
  Dillon Gilbertson: accomplishing a goal at the place, or whatever, and I was like, wow, that sounds really cool. And it just became about hotels.
• 6:40
  Dillon Gilbertson: And I was like, okay, I get it. I mean, and like, to their point, I guess, in most of these books, or in most of these stories, something happens in the hotel that makes them sort of abandon their initial reason for being there, but all the same, like, I… it was interesting. So, again, I'll say I'm not gonna balk at wordy comics.
• 7:00
  Dillon Gilbertson: I don't think there were any in here that were terribly, word-heavy, but, like, when I learned that this was gonna be about liminal spaces, I was like, wow, we're gonna get a lot of silent comics.
• 7:12
  Dillon Gilbertson: But that was not the case at all.
• 7:14
  Tad Eggleston: A handful, or a handful that were more silent.
• 7:19
  Dillon Gilbertson: The last one we did, it felt like there were so many silent…
• 7:21
  Tad Eggleston: There were.
• 7:22
  Dillon Gilbertson: It had very few words in it.
• 7:23
  Tad Eggleston: Yeah.
• 7:24
  Dillon Gilbertson: But anyway, so, like, the… the… it being about almost exclusively hotels was, interesting. I didn't expect it.
• 7:32
  Tad Eggleston: Yeah, that caught me a little bit by surprise, though not entirely, just because, like, when you talk about
• 7:42
  Tad Eggleston: passing through.
• 7:50
  Peter Eggleston Connor: Duh…
• 7:51
  Tad Eggleston: When you're on a journey and you… and you hit a hotel for a night, that's, like, the definition of passing through. You're not really in that town or in that place, it's… it's just…
• 8:05
  Tad Eggleston: the… the…
• 8:06
  Matt: place to sleep.
• 8:07
  Tad Eggleston: Right. So anything that happens there…
• 8:13
  Tad Eggleston: I mean, may eventually be tied to that place, but isn't… isn't inherently, at the beginning,
• 8:22
  Tad Eggleston: Driven by location versus driven by
• 8:29
  Tad Eggleston: by circumstance, which is why I don't think it's… it's particularly surprising that we have a lot… a lot of these stories involved
• 8:37
  Tad Eggleston: Or at least, to me, it felt like, and I read, like, the first half last week and the second half this week, so as I'm kind of looking at the first half stories, first half stories had a little bit of a different feel for them, but particularly in the second half, it seemed like a lot of them were, like, couples traveling.
• 8:54
  Tad Eggleston: And, and, like… So, the story wound up… being… about… them.
• 9:05
  Tad Eggleston: As they're going between places.
• 9:09
  Tad Eggleston: And the places might throw them curveballs, but the places weren't the destination, or if there's a destination, it's still further on. We're not seeing them at their final destination, we're seeing them
• 9:22
  Tad Eggleston: in trend.
• 9:22
  Matt: During this transition.
• 9:24
  Tad Eggleston: Right.
• 9:25
  Matt: Yeah, for sure.
• 9:27
  Tad Eggleston: So… I thought it was a cool concept. I thought, I thought…
• 9:33
  Tad Eggleston: In some ways, it's an even harder one to really capture.
• 9:38
  Tad Eggleston: Because on one level, this is what every story ever is about.
• 9:42
  Tad Eggleston: The… the… the distance between the beginning and the end.
• 9:46
  Tad Eggleston: And on another level, like, how do you do that in a way where you're emphasizing
• 9:54
  Tad Eggleston: neither the beginning nor the end, or possibly not even talking about the beginning or the end. You know what I mean? At least that's… that's what I felt like was the attempt.
• 10:04
  Tad Eggleston: Yeah. And it's, and it's kind of a,
• 10:08
  Tad Eggleston: It might be the, the, the…
• 10:11
  Tad Eggleston: Biggest challenge that we've seen in these five issues.
• 10:16
  Peter Eggleston Connor: Yeah, what I think I want to say on that, just real quick, is, like, it is definitely…
• 10:25
  Peter Eggleston Connor: it being the fifth issue, every issue so far has been a little bit… felt a little bit more concrete on what it was delivering, and this one has… was… it's good. I really… there are some of these that I remember reading, and I was like, this was amazing. But as far as, like.
• 10:42
  Peter Eggleston Connor: I think, like, part of the reason I even bring this up is because we've definitely talked about how
• 10:47
  Peter Eggleston Connor: Metal Hurlant has had, like, been pretty succinct in, like, having, like, these focuses, and, like, this is the first time where I've just…
• 10:56
  Peter Eggleston Connor: it's been just loose enough where I haven't felt that as much, where it's not like, you know, I think the last one was the Monster Within, is that right?
• 11:08
  Tad Eggleston: I think so.
• 11:08
  Peter Eggleston Connor: Like, you know.
• 11:10
  Peter Eggleston Connor: It definitely felt like it was focused on the monster within, and it really explored that monster within space, and…
• 11:19
  Peter Eggleston Connor: I think this one does too, it's just, like, it is… Such an abstract concept to… In general, I…
• 11:29
  Tad Eggleston: Right.
• 11:29
  Peter Eggleston Connor: To me, for sure.
• 11:31
  Peter Eggleston Connor: That it's a little bit harder to be like.
• 11:36
  Peter Eggleston Connor: you know, oh, they're, like, you know, really telling stories about this liminal space just passing through sort of concept, and it's more like, oh, these are just sort of, like, you know.
• 11:48
  Peter Eggleston Connor: Parts of adventures.
• 11:52
  Peter Eggleston Connor: -Oh.
• 11:53
  Matt: Honestly, after reading the Mobius, the first story.
• 11:56
  Matt: I felt like it was gonna be much more about a metaphor for dying, So…
• 12:02
  Tad Eggleston: I mean, there was some of that.
• 12:04
  Matt: There was, but not enough to be like, that's what they were saying.
• 12:09
  Peter Eggleston Connor: So, definitely not enough to be like, that's what they were saying. There was a lot of it.
• 12:16
  Peter Eggleston Connor: Just not… not all of them.
• 12:18
  Matt: Yep, yep.
• 12:19
  Tad Eggleston: Mobius was really ridiculously good.
• 12:22
  Matt: Yes, I'm glad… it either goes first or last, and I'm glad they put it first.
• 12:28
  Tad Eggleston: Yeah. I mean, these… these are essentially 18 perfect panels.
• 12:34
  Matt: Almost got 22.
• 12:38
  Tad Eggleston: No.
• 12:42
  Tad Eggleston: You don't see Mobius use that 9-panel grid that often that I can think of. And here, he not only uses it, he just… he…
• 12:51
  Matt: Interesting.
• 12:52
  Tad Eggleston: nails it. Completely and utterly nails it. Oh, I mean…
• 12:56
  Peter Eggleston Connor: Definitely.
• 12:57
  Tad Eggleston: This is… this is like Jaime Hernandez level, each panel is its own work of art.
• 13:04
  Tad Eggleston: And they all work together?
• 13:08
  Peter Eggleston Connor: Dollar.
• 13:12
  Tad Eggleston: I just… yeah. I love… I love the one where he's just starting to realize that he's floating in…
• 13:19
  Tad Eggleston: Kim.
• 13:20
  Tad Eggleston: Bounce in different directions.
• 13:24
  Dillon Gilbertson: He has his hands in his pockets most of the time.
• 13:27
  Tad Eggleston: Yeah, I love that.
• 13:29
  Matt: Because, you know, balance isn't important.
• 13:30
  Dillon Gilbertson: Yeah, I guess this is happening, I'll just let it go.
• 13:34
  Matt: Yup!
• 13:37
  Tad Eggleston: I, I love… The… the three panels is the spirit separates from…
• 13:49
  Peter Eggleston Connor: the body.
• 13:52
  Tad Eggleston: Yeah.
• 13:54
  Tad Eggleston: And this last panel is so…
• 14:05
  Tad Eggleston: Do you even know how to read this last panel?
• 14:08
  Dillon Gilbertson: Just that the spirit is so bright.
• 14:10
  Tad Eggleston: Yeah, is, like, the spirit coming for him?
• 14:14
  Matt: Is he…
• 14:14
  Tad Eggleston: been frozen by…
• 14:17
  Matt: He's a source.
• 14:17
  Tad Eggleston: Buyers.
• 14:18
  Matt: So he's seen death before, so what's…
• 14:20
  Tad Eggleston: Right.
• 14:21
  Peter Eggleston Connor: I mean, he's a guard, I don't know if he's a soldier.
• 14:26
  Tad Eggleston: It's true.
• 14:27
  Matt: Okay, fair enough. That was my… that was…
• 14:29
  Peter Eggleston Connor: I mean, if you look at Panel 7, it says Cage 50, which suggests that this is some sort of prison.
• 14:37
  Tad Eggleston: Right.
• 14:40
  Peter Eggleston Connor: But, like, the last image, I mean, it's very powerful. You don't know what's going on. I think that's part of the reason why it's powerful, because it's like…
• 14:48
  Peter Eggleston Connor: Obviously, he has gone from…
• 14:52
  Peter Eggleston Connor: The big type, aggressor type to, you know, being fearful of something and trying to protect himself.
• 15:01
  Peter Eggleston Connor: but if that's, you know…
• 15:06
  Tad Eggleston: Well, and also…
• 15:07
  Peter Eggleston Connor: hear a cause, or what? I don't know. Go ahead.
• 15:11
  Tad Eggleston: Lubius has been too careful with shadow and light in this comic.
• 15:21
  Tad Eggleston: For it not to be meaningful.
• 15:24
  Tad Eggleston: That the light is definitely coming into that room.
• 15:29
  Tad Eggleston: From a very direct angle that's not necessarily the way you would expect it
• 15:37
  Tad Eggleston: Looking at him, looking out the windows.
• 15:41
  Peter Eggleston Connor: Oh, 100%.
• 15:43
  Tad Eggleston: You know, so the light source can't…
• 15:45
  Tad Eggleston: To me, anyway, the light source can't possibly be just the sun.
• 15:51
  Matt: Yeah, the apparition, the ghost, the spirit, whatever, totally came back. Right, no. He's back against the wall on the… he's on the opposite wall.
• 16:00
  Tad Eggleston: Right.
• 16:01
  Peter Eggleston Connor: There is definitely something, like, pretty much right outside the window, Yeah.
• 16:06
  Tad Eggleston: Yeah.
• 16:08
  Tad Eggleston: And it's just… So beautifully done.
• 16:14
  Tad Eggleston: And I forgot again, it's Moibius. Moibious, not Mobius.
• 16:20
  Dillon Gilbertson: I learned today that he was the costume designer on, Fifth Element, which I didn't know.
• 16:25
  Tad Eggleston: Yeah. He did a lot of design for Fifth Element.
• 16:28
  Dillon Gilbertson: Yeah, crazy.
• 16:30
  Tad Eggleston: No.
• 16:32
  Dillon Gilbertson: Anyway. I like this story a lot. This might be the only one.
• 16:36
  Tad Eggleston: He's so cool on this one.
• 16:37
  Peter Eggleston Connor: the Grand Tour?
• 16:38
  Dillon Gilbertson: Yeah.
• 16:38
  Peter Eggleston Connor: That's fine.
• 16:39
  Matt: It's got some cool visuals.
• 16:41
  Dillon Gilbertson: Yeah, the little, the little boat dude, the little guy, I love that guy.
• 16:44
  Peter Eggleston Connor: a boat, dude.
• 16:46
  Dillon Gilbertson: Yeah.
• 16:46
  Peter Eggleston Connor: That's definitely a Muppet.
• 16:49
  Matt: You know, when he gets his instructions, I'm like, why is he just trusting this dude?
• 16:54
  Dillon Gilbertson: Yeah.
• 16:55
  Matt: Totally was, and I'm like, oh, because it's plot, it's part of the plot, that's why.
• 17:00
  Dillon Gilbertson: This skeleton priest is dope as hell, too, I love him.
• 17:03
  Matt: Yes, he's awesome.
• 17:05
  Peter Eggleston Connor: Yeah.
• 17:06
  Peter Eggleston Connor: the… Skeleton Priest, which is literally just a skull with a priest sign. Yeah. That's not even…
• 17:12
  Tad Eggleston: Well, not even a full skull.
• 17:14
  Peter Eggleston Connor: That's all.
• 17:15
  Matt: Go jaw.
• 17:16
  Peter Eggleston Connor: That's a… Bo Cardinal, yeah.
• 17:20
  Tad Eggleston: Yeah, it's more of a… more of a car.
• 17:22
  Dillon Gilbertson: Go.
• 17:23
  Tad Eggleston: Yeah.
• 17:27
  Peter Eggleston Connor: The nana.
• 17:28
  Tad Eggleston: But he does say priests, so maybe some priests wear hats like that.
• 17:32
  Peter Eggleston Connor: Oh, I mean, it is a priest in this book, it's just a very…
• 17:36
  Matt: I am nowhere near Catholic enough.
• 17:39
  Matt: That's mean.
• 17:39
  Tad Eggleston: Right, right.
• 17:40
  Matt: So true.
• 17:42
  Tad Eggleston: But I do think it's… I do think it's great that you've got this talking skull that doesn't have a jaw.
• 17:48
  Peter Eggleston Connor: Yep.
• 17:50
  Peter Eggleston Connor: Oh, for sure.
• 17:53
  Peter Eggleston Connor: Not as fun as morning, though.
• 17:57
  Tad Eggleston: And then the masquerade's kinda cool.
• 18:04
  Tad Eggleston: 777 steps.
• 18:09
  Peter Eggleston Connor: And a robber.
• 18:11
  Peter Eggleston Connor: That you hired to guide you.
• 18:16
  Matt: Right.
• 18:21
  Peter Eggleston Connor: I… I was so sad when I saw the little Muppet guy was stabbed, and then I said, he ruined my outfit, and I realized he wasn't that, I was like.
• 18:32
  Peter Eggleston Connor: Thank God.
• 18:33
  Tad Eggleston: is a Muppet. It takes more than stabbing him.
• 18:37
  Peter Eggleston Connor: Yeah, but… but, like, the guy in the background, both the Muppet and the guy in the background have, like, the little skull.
• 18:44
  Dillon Gilbertson: and cross path, yeah.
• 18:45
  Peter Eggleston Connor: Yeah, yeah. Yeesh.
• 18:46
  Dillon Gilbertson: I mean, maybe he does die, but he comes back.
• 18:50
  Peter Eggleston Connor: And you're just like, oh no, my favorite character!
• 18:54
  Tad Eggleston: Right.
• 18:55
  Peter Eggleston Connor: And then, no, it's actually fine.
• 18:58
  Dillon Gilbertson: I've known him.
• 18:58
  Tad Eggleston: So…
• 18:59
  Dillon Gilbertson: minutes, and I would kill for him.
• 19:03
  Tad Eggleston: I guess that says there are others, so the other two didn't get up too, it's just the Muppet that managed to survive.
• 19:11
  Peter Eggleston Connor: Yeah.
• 19:12
  Tad Eggleston: This is such a great page, the damn thieves with the…
• 19:15
  Dillon Gilbertson: Yeah.
• 19:16
  Tad Eggleston: Ugh.
• 19:17
  Tad Eggleston: Just the moon, and… Ugh.
• 19:21
  Dillon Gilbertson: -
• 19:22
  Tad Eggleston: Architecture, sculpture, just… And I just noticed that there are the two guys coming up the stairs after them.
• 19:30
  Peter Eggleston Connor: Yup.
• 19:31
  Tad Eggleston: I had missed them before.
• 19:32
  Peter Eggleston Connor: No, I don't think that's the two guys coming up this… the last two guys, that's…
• 19:37
  Tad Eggleston: It might not be, but it is two guys coming up the stairs at them that he's shouting, damn.
• 19:42
  Peter Eggleston Connor: I think.
• 19:42
  Tad Eggleston: I figured he was shouting, damn thieves and stuff.
• 19:44
  Peter Eggleston Connor: No, I see it now.
• 19:46
  Tad Eggleston: There are actually two guys with swords coming up at him.
• 19:49
  Peter Eggleston Connor: I saw the one more easily than I saw the other.
• 19:53
  Tad Eggleston: Yeah.
• 19:54
  Peter Eggleston Connor: The other one, you're just seeing the back of his hat, and then the sword.
• 19:58
  Tad Eggleston: Right.
• 19:59
  Peter Eggleston Connor: And because of how, like, It's a very beautiful picture, but because of how it's, like, all sort of…
• 20:07
  Tad Eggleston: with…
• 20:08
  Peter Eggleston Connor: Happyo.
• 20:09
  Tad Eggleston: sepia, and it totally draws you to the center. So, like, until you notice the word balloon, you can almost miss the two main characters.
• 20:20
  Matt: Yep.
• 20:20
  Peter Eggleston Connor: You can miss pretty much everything. 100%.
• 20:24
  Peter Eggleston Connor: scenery.
• 20:26
  Tad Eggleston: Because it totally draws you to… to… to the…
• 20:31
  Tad Eggleston: To the windows, and the sculptures, and the moon.
• 20:35
  Peter Eggleston Connor: Nope.
• 20:36
  Tad Eggleston: And then down here in the corner, just…
• 20:40
  Tad Eggleston: Almost blending into everything else, there's actually some action going on.
• 20:45
  Peter Eggleston Connor: And then… and then the portrayal.
• 20:48
  Tad Eggleston: Yeah.
• 20:50
  Peter Eggleston Connor: When you find out that the priest was,
• 20:57
  Peter Eggleston Connor: In it for his own reasons.
• 20:59
  Peter Eggleston Connor: And yet… Still gave a true prophecy.
• 21:06
  Tad Eggleston: Up, down.
• 21:08
  Tad Eggleston: Turns them all to gold.
• 21:14
  Tad Eggleston: I also love this… Yeah, I like the white lady, but I also love the way the light comes down into the ocean.
• 21:21
  Tad Eggleston: I'm a soul, I come from the Northern Gate, yeah.
• 21:25
  Peter Eggleston Connor: you know.
• 21:31
  Peter Eggleston Connor: Oh, I've said Light Lady, not White.
• 21:33
  Tad Eggleston: No, I caught that as I…
• 21:35
  Peter Eggleston Connor: I was saying…
• 21:36
  Tad Eggleston: white. I… I meant light, too. I just…
• 21:41
  Tad Eggleston: I was… I was mesmerized by the… the beam of light coming from the sky.
• 21:48
  Peter Eggleston Connor: The BMO…
• 21:49
  Tad Eggleston: I think in some ways, it's almost more mesmerizing in the panel that nobody's paying attention to it.
• 22:00
  Tad Eggleston: I just need to consult some documents, do a few calculations, a beam of light coming down in the background, and…
• 22:07
  Tad Eggleston: They're completely oblivious to it.
• 22:11
  Peter Eggleston Connor: Nope.
• 22:19
  Tad Eggleston: But then they get to… to fly away on the light.
• 22:25
  Peter Eggleston Connor: So, how many of you have your favorite panel as the last panel here?
• 22:29
  Peter Eggleston Connor: I'm just kidding!
• 22:31
  Tad Eggleston: I mean, it's a good panel!
• 22:33
  Matt: Oh my god!
• 22:34
  Tad Eggleston: The question, though, is, is it…
• 22:35
  Matt: I'm spoiled!
• 22:36
  Tad Eggleston: Or is it a polar bear in a snowstorm?
• 22:40
  Peter Eggleston Connor: Wait, I spoiled it?
• 22:42
  Matt: It's a cow-eating grass.
• 22:46
  Tad Eggleston: In a snowstorm?
• 22:48
  Peter Eggleston Connor: In a snowstorm? A white cow eating grass in a snowstorm?
• 22:51
  Matt: No, the cow eating grass. He had all the grass and he moved on.
• 22:54
  Tad Eggleston: Okay, okay.
• 22:58
  Peter Eggleston Connor: I guess.
• 23:03
  Tad Eggleston: Otto was… Weird.
• 23:06
  Peter Eggleston Connor: Yeah, it was weird, I loved it.
• 23:10
  Peter Eggleston Connor: It was super fucking weird, but I kinda loved it.
• 23:17
  Peter Eggleston Connor: it's… it's at least… I don't remember if there are a lot more silent… I know Dillon mentioned there are a ton of silent ones in general, but…
• 23:26
  Peter Eggleston Connor: This is at least our first silent comic of the,
• 23:30
  Dillon Gilbertson: This one really took me off guard.
• 23:33
  Peter Eggleston Connor: I know, right?
• 23:34
  Matt: Hmm.
• 23:35
  Dillon Gilbertson: It's not every time you see a man that shrinks down to small sizes and lays in a missionary position for a spider to have sex with him.
• 23:42
  Matt: Has anyone seen that movie with Adam Sandler, where he's up in space and he talks to the spider?
• 23:48
  Dillon Gilbertson: Sounds familiar, I don't think I've seen it, but…
• 23:51
  Matt: Well, that's… that's… this made me really think about that, so…
• 23:54
  Matt: That's really all I have for this one.
• 23:56
  Peter Eggleston Connor: He barely came here for other reasons, and then…
• 23:59
  Matt: Oh, yeah.
• 24:01
  Peter Eggleston Connor: Couldn't commit to those.
• 24:03
  Matt: Well, huh.
• 24:04
  Peter Eggleston Connor: Why?
• 24:05
  Matt: commit to those, but you got a spider you can commit to right here. Any point in the storm, Peter.
• 24:10
  Peter Eggleston Connor: And then… and then apparently the spider fell in love with him.
• 24:14
  Peter Eggleston Connor: Or, you know, had sympathy for them, I don't know, one or the other.
• 24:20
  Tad Eggleston: Or just needed a donor.
• 24:23
  Peter Eggleston Connor: Could be.
• 24:28
  Peter Eggleston Connor: Yeah. And then after that, yeah, the whole him shrinking. But what's really weird is he shrinks, and then he, like, finds this door that's even smaller than him.
• 24:40
  Peter Eggleston Connor: And he opens it, and puts his head in, and then… yeah.
• 24:45
  Tad Eggleston: It's the full-size room, so did he shrink or grow?
• 24:50
  Peter Eggleston Connor: I have no idea.
• 24:54
  Tad Eggleston: And if he grew, why did his hat grow more?
• 24:59
  Matt: Yeah, he didn't grow.
• 25:01
  Peter Eggleston Connor: I don't think he grew.
• 25:07
  Peter Eggleston Connor: I think… but then again, this is just trippy, so you can interpret it any way you want to, really.
• 25:14
  Tad Eggleston: Yeah.
• 25:17
  Tad Eggleston: I mean, honestly, you could interpret it that he doesn't… Chicken out.
• 25:23
  Tad Eggleston: That this is… this is what he gets after…
• 25:29
  Peter Eggleston Connor: That is true.
• 25:30
  Tad Eggleston: This panel where…
• 25:32
  Peter Eggleston Connor: Have this… to have this one panel.
• 25:35
  Peter Eggleston Connor: Where it… they don't make it look like he actually goes through, but they make the expression of… or the panel itself looks like…
• 25:46
  Peter Eggleston Connor: There was this… Egregious action that he took upon himself.
• 25:53
  Tad Eggleston: Right.
• 25:54
  Tad Eggleston: But it also kind of looks like a flame.
• 25:56
  Peter Eggleston Connor: Breaks… breaks everything… like, breaks at the top to show.
• 26:00
  Tad Eggleston: Right.
• 26:01
  Tad Eggleston: Right. I mean, it looks like it could be the blood splatter if you shot yourself at that angle, except that it looks more like flames. So, like, is that the point where he goes into his own version of hell?
• 26:13
  Matt: Hmm, could be.
• 26:15
  Peter Eggleston Connor: Could be.
• 26:16
  Peter Eggleston Connor: I mean, again… They do not make it clear from anything other than the panel itself.
• 26:24
  Tad Eggleston: Yeah.
• 26:25
  Peter Eggleston Connor: So, it's very, again, very much a very large amount of interpretation, but it's…
• 26:30
  Tad Eggleston: Because it's also definitely… I mean, I guess we do have…
• 26:34
  Tad Eggleston: Okay, not quite. We do have the big spider up there.
• 26:40
  Peter Eggleston Connor: I mean, that's.
• 26:40
  Tad Eggleston: I was gonna say, it's the panel where everything suddenly becomes… Much more surreal.
• 26:47
  Tad Eggleston: But we did have the… the oversized spider on the previous page, so that's not quite true.
• 26:56
  Peter Eggleston Connor: The overthawed spider is there from the get-go.
• 26:59
  Tad Eggleston: Right.
• 27:00
  Peter Eggleston Connor: Blurring the lines even more.
• 27:03
  Tad Eggleston: Right.
• 27:05
  Tad Eggleston: Art is fantastic.
• 27:07
  Matt: Oh, yeah.
• 27:09
  Tad Eggleston: It's trippy as fuck. I just noticed…
• 27:12
  Tad Eggleston: That the hallway that he goes down from his monstrous door to the teeny door that he opens only to find his room again?
• 27:24
  Peter Eggleston Connor: rooms.
• 27:24
  Matt: It's totally thorough and.
• 27:25
  Tad Eggleston: All of the other… all of the other rooms are bricked up.
• 27:29
  Matt: I'm sorry, they're what?
• 27:31
  Tad Eggleston: All of the other doors are bricked over.
• 27:34
  Matt: I'm just… I'm joking.
• 27:35
  Peter Eggleston Connor: And actually, if you look on the first page, that… what we… well, yeah, that same hallway, it has the same paper, at least.
• 27:44
  Peter Eggleston Connor: Yeah. …add doors at every point, so… Something has definitely changed.
• 27:49
  Matt: I think his name's Alice, and he's just in a different wonderland.
• 27:54
  Tad Eggleston: Well, except that we do know his name is Oz.
• 27:56
  Peter Eggleston Connor: Commander.
• 27:57
  Matt: Otto, Alice, same thing.
• 28:00
  Peter Eggleston Connor: Auto. Auto.
• 28:02
  Tad Eggleston: Though I do love this quote at the end, too. We need new words to describe a fresh start, to put the past behind us, simply to blossom.
• 28:17
  Peter Eggleston Connor: Venus… by Adrian Mangold, and art by Eduardo Francisco.
• 28:23
  Peter Eggleston Connor: Love this one, too.
• 28:25
  Tad Eggleston: Yeah, this… this was another… Another one where the art was just next level.
• 28:32
  Matt: Yeah, it reminds me of,
• 28:35
  Matt: I can't think of the title now, shoot.
• 28:40
  Peter Eggleston Connor: Though the story's a little sad.
• 28:42
  Tad Eggleston: Story's very sad.
• 28:45
  Peter Eggleston Connor: Who knows?
• 28:49
  Peter Eggleston Connor: It is very sad.
• 28:50
  Tad Eggleston: And I feel like we're actually seeing at least two different timelines.
• 28:59
  Peter Eggleston Connor: What?
• 29:02
  Tad Eggleston: I feel like we're… we're seeing at least.
• 29:06
  Peter Eggleston Connor: too different.
• 29:06
  Tad Eggleston: timelines.
• 29:07
  Peter Eggleston Connor: to, oh…
• 29:10
  Peter Eggleston Connor: Interesting. I mean, I feel like at some point they cut back to the mother's timeline for a moment, but…
• 29:18
  Tad Eggleston: I, I honestly, I think, I think the, the, the…
• 29:22
  Tad Eggleston: The orange is one timeline, and the green is another.
• 29:28
  Peter Eggleston Connor: Yeah, I just took them as the same thing.
• 29:31
  Tad Eggleston: And… and that middle that's… that's kinda… is…
• 29:38
  Tad Eggleston: Cause I think sometimes that middle… is… is almost… like…
• 29:45
  Tad Eggleston: The daughter looking back on herself… yeah.
• 29:51
  Tad Eggleston: It's…
• 29:57
  Tad Eggleston: very…
• 30:05
  Tad Eggleston: different.
• 30:24
  Peter Eggleston Connor: Yep.
• 30:26
  Tad Eggleston: And very, very… I mean, it's also the very interesting, like… Motherhood versus… career… Particularly when your career is…
• 30:42
  Tad Eggleston: Research scientist on another planet.
• 30:50
  Peter Eggleston Connor: Yeah, I mean… It definitely hits that whole level of having to choose between worlds, right?
• 30:59
  Tad Eggleston: Right.
• 30:59
  Peter Eggleston Connor: Like, I don't…
• 31:01
  Peter Eggleston Connor: I mean, they use such a long distance to, like, really elaborate it, and really be able to show it in, you know, what is this? 1, 2, 3, 4…
• 31:12
  Peter Eggleston Connor: 5, 6, 7… Is it 8 or 9 pages?
• 31:16
  Tad Eggleston: Yeah.
• 31:21
  Peter Eggleston Connor: But there's definitely that level of…
• 31:29
  Peter Eggleston Connor: On one side, like, it's like… Oh… No.
• 31:35
  Peter Eggleston Connor: Loving and caring about your children, wanting to be there for them as much as you can, and then on the other side, it's like having to do…
• 31:43
  Peter Eggleston Connor: Well, I mean, there's responsibility, but it's also even just, you know.
• 31:48
  Peter Eggleston Connor: being able to do the fantastic things that you always dreamed of, right?
• 31:53
  Tad Eggleston: Alright.
• 32:00
  Peter Eggleston Connor: Thoughts, Matt?
• 32:03
  Matt: Invisible Republic, that was the comic I was thinking the art reminded me of.
• 32:08
  Tad Eggleston: Invisible Republic.
• 32:09
  Matt: Yeah, it came out… it came out around the time Descender came out.
• 32:23
  Tad Eggleston: Oh, wait a minute, I think I know what that was.
• 32:27
  Tad Eggleston: Is that the… Christian Ward… No, maybe not.
• 32:38
  Matt: Nope, Karina… Becho. And Gabriel Hardman.
• 32:44
  Tad Eggleston: Hi.
• 32:45
  Matt: The planetary regime of legendary freedom fighter turned dictator Arthur McBride has fallen, plunging his world into chaos.
• 32:53
  Tad Eggleston: I might not have actually read this.
• 32:56
  Matt: I didn't read the whole thing, but I read the first several issues, and I really enjoyed it.
• 33:01
  Matt: But the art was very reminiscent for me, so…
• 33:09
  Peter Eggleston Connor: Fair.
• 33:11
  Peter Eggleston Connor: I mean, the yard is great with having a lot of green and red.
• 33:14
  Matt: Yep.
• 33:15
  Peter Eggleston Connor: One side always being red, and the other side always being green, and having a yellow in the middle.
• 33:23
  Tad Eggleston: What's this translate to again?
• 33:28
  Peter Eggleston Connor: I mean… Inside seats.
• 33:33
  Tad Eggleston: It's more like an orange to me.
• 33:36
  Tad Eggleston: So there are points where it's closer to red.
• 33:41
  Peter Eggleston Connor: The reason why I even asked that was because, like.
• 33:46
  Peter Eggleston Connor: If you think about yellow on a spectrum of color, the colors… on the color spectrum, sorry, colors next to it are green and…
• 33:56
  Tad Eggleston: Right.
• 33:58
  Peter Eggleston Connor: Orange.
• 34:00
  Peter Eggleston Connor: So, those would blend more, but…
• 34:04
  Tad Eggleston: Yeah.
• 34:08
  Peter Eggleston Connor: Whatever it is, it's a really good job.
• 34:15
  Peter Eggleston Connor: So it's kind of an orangey-red.
• 34:22
  Peter Eggleston Connor: I also feel like this yellow seems like it also gets thinner and thinner as time goes on. I don't know if that's just me.
• 34:31
  Tad Eggleston: I think it does.
• 34:33
  Tad Eggleston: I, I think towards the end, it's… more representing… The daughters… Choice regarding her pregnancy.
• 34:51
  Tad Eggleston: than it is… Two different timeframes.
• 34:56
  Peter Eggleston Connor: Twitter.
• 34:59
  Tad Eggleston: Because, like, the page where there's the least yellow… you know…
• 35:07
  Tad Eggleston: It has the guy offering to…
• 35:11
  Tad Eggleston: declare… declare her child a ward of the earth at birth.
• 35:16
  Tad Eggleston: To limit her attachment.
• 35:21
  Tad Eggleston: And then…
• 35:25
  Tad Eggleston: You know, her having to make that.
• 35:29
  Tad Eggleston: that decision.
• 35:33
  Tad Eggleston: Because… She's gonna be sent to Venus when he's 4.
• 35:42
  Peter Eggleston Connor: And how old he is on those glass panels.
• 35:46
  Tad Eggleston: No, it's what… I'm asking one last time.
• 35:51
  Peter Eggleston Connor: Are you sure?
• 35:52
  Tad Eggleston: You'll only be able to see them once every 8 years during each rotation.
• 35:57
  Peter Eggleston Connor: We said when he's 4, right?
• 36:02
  Matt: Yeah, this was extremely ironic. I felt like Alanis Morissette did the soundtrack for this comic.
• 36:10
  Peter Eggleston Connor: I'll ask, because he doesn't quite look forward.
• 36:12
  Tad Eggleston: Well, no, I would imagine him to be 12 in these last panels.
• 36:16
  Tad Eggleston: be… because…
• 36:24
  Tad Eggleston: You can erase him until you leave, which is when he turns 4.
• 36:28
  Tad Eggleston: And then she says, you'll see him once every 8 years during rotation.
• 36:34
  Peter Eggleston Connor: Yeah, but these last panels feel a lot like, essentially.
• 36:40
  Peter Eggleston Connor: her mother came back down to Earth, and she's like, oh…
• 36:45
  Peter Eggleston Connor: we can now go to Venus together. And then her mother is like, I can't return to Venus.
• 36:51
  Peter Eggleston Connor: like… You're… so… which is the, like, the even more bittersweet part of this comic, because it's like…
• 36:59
  Peter Eggleston Connor: you know…
• 37:00
  Peter Eggleston Connor: part of what it feels like throughout the comic, part of what she wants is to go to Venus to spend more time with her mother.
• 37:09
  Peter Eggleston Connor: And at the end of the comic, instead of getting the chance to go to Venus and spend more time with her mother, her mother has to stay home, and she goes to Venus alone.
• 37:20
  Tad Eggleston: Yeah.
• 37:23
  Tad Eggleston: Then maybe he's a tall 4-year-old?
• 37:26
  Peter Eggleston Connor: Maybe, or maybe she was able to delay it 8 years, I don't know.
• 37:31
  Tad Eggleston: Who knows?
• 37:43
  Peter Eggleston Connor: Boom.
• 37:50
  Tad Eggleston: Alright, ringside seats.
• 37:53
  Tad Eggleston: I do love this.
• 37:54
  Peter Eggleston Connor: Oh, that's the name of it.
• 37:57
  Peter Eggleston Connor: Ox Premier Lodges is… Something.
• 38:01
  Tad Eggleston: French name of it.
• 38:07
  Peter Eggleston Connor: Got it.
• 38:10
  Peter Eggleston Connor: That makes sense.
• 38:16
  Tad Eggleston: I do… this… this… I don't know if everything on this front page is, like, Stripped straight from…
• 38:30
  Tad Eggleston: Photographs from history, but just enough is… that…
• 38:39
  Tad Eggleston: With the one square that says, mankind had turned the earth
• 38:43
  Tad Eggleston: into an unlivable world, you definitely have… That feeling that we're…
• 38:51
  Tad Eggleston: Watching time pass as the Earth is destroyed.
• 38:55
  Peter Eggleston Connor: Yup.
• 38:58
  Tad Eggleston: You know, the wars, and the pollution, and the… just… Yeah.
• 39:13
  Tad Eggleston: I think we've seen Benoit art before, haven't we?
• 39:18
  Peter Eggleston Connor: bounds.
• 39:19
  Peter Eggleston Connor: Right.
• 39:19
  Tad Eggleston: It just… it looks familiar, and it sounds right.
• 39:27
  Peter Eggleston Connor: Yeah, this one was fun.
• 39:35
  Peter Eggleston Connor: I will say, it takes a while before… I mean, I guess we've had one hotel won so far, but I felt like in the first…
• 39:42
  Peter Eggleston Connor: Third… oh, there's less hotels, and then it just feels.
• 39:46
  Tad Eggleston: Yeah.
• 39:46
  Peter Eggleston Connor: things, hotels.
• 39:48
  Tad Eggleston: All the hotels come at once.
• 39:52
  Peter Eggleston Connor: Boom.
• 39:53
  Peter Eggleston Connor: In this case, we have this sort of…
• 39:56
  Peter Eggleston Connor: I mean, like, on theme, actually…
• 40:00
  Peter Eggleston Connor: we have this… these aliens coming to Earth.
• 40:04
  Peter Eggleston Connor: And they abduct some people, and…
• 40:09
  Peter Eggleston Connor: The guy who's conscious is talking to them, and… You know…
• 40:16
  Peter Eggleston Connor: saying, oh, are you here to save us? And they're like, no, we tried to, like, tell you that, you know, you were gonna be doomed, I think.
• 40:25
  Tad Eggleston: Right.
• 40:25
  Peter Eggleston Connor: but… But, you know…
• 40:29
  Tad Eggleston: He tried to warn you. You didn't listen.
• 40:32
  Peter Eggleston Connor: Listen, so you're screwed, and then it's like… so he's like, why are you here? It's like…
• 40:38
  Peter Eggleston Connor: To watch it all happen.
• 40:40
  Tad Eggleston: Yeah.
• 40:43
  Tad Eggleston: Yeah.
• 40:44
  Tad Eggleston: We brought our popcorn.
• 40:52
  Peter Eggleston Connor: And then ultimately, they escape, the same way everyone escapes.
• 41:04
  Tad Eggleston: And then we've got a hotel.
• 41:07
  Tad Eggleston: Hotel.
• 41:08
  Tad Eggleston: Paris.
• 41:09
  Peter Eggleston Connor: Eternal paradise.
• 41:10
  Matt: This was really, really weird.
• 41:13
  Peter Eggleston Connor: It was really weird.
• 41:15
  Matt: Like, dreaming about each other, and dude going, like, down his colon, being like, let me check out your cancer.
• 41:22
  Matt: I wanna, I wanna shoot your tumor.
• 41:27
  Peter Eggleston Connor: Yeah.
• 41:35
  Tad Eggleston: It's funny that we had that theme twice.
• 41:41
  Peter Eggleston Connor: Your turn.
• 41:43
  Tad Eggleston: Yeah.
• 41:44
  Tad Eggleston: Because that happened in a later story, too.
• 41:52
  Tad Eggleston: I do also like the, twist at the end.
• 41:56
  Tad Eggleston: that, like… They're all… descendants of… Guys in a foxhole.
• 42:04
  Peter Eggleston Connor: Yep.
• 42:06
  Matt: Yeah.
• 42:08
  Peter Eggleston Connor: Don't seem like they made it out.
• 42:11
  Tad Eggleston: Yeah.
• 42:14
  Peter Eggleston Connor: And then Monday, say, we'll meet again in paradise.
• 42:17
  Peter Eggleston Connor: As the hotel parades!
• 42:20
  Matt: Right.
• 42:22
  Tad Eggleston: I really love the… Understated coloring.
• 42:31
  Tad Eggleston: Tailed.
• 42:33
  Tad Eggleston: characters…
• 42:39
  Tad Eggleston: It's very European in how it really catches the stuff in between, and we've got them… Brushing his teeth.
• 42:46
  Tad Eggleston: Putting a toothbrush back. Oh wait, the toothbrush is too heavy for the cup.
• 42:52
  Tad Eggleston: Turning off the light.
• 42:55
  Peter Eggleston Connor: Yeah.
• 42:56
  Tad Eggleston: NL.
• 42:58
  Peter Eggleston Connor: I like how they use that, the toothbruster's too heavy for the cup twice.
• 43:02
  Tad Eggleston: Twice.
• 43:04
  Tad Eggleston: Yep.
• 43:06
  Tad Eggleston: Making the coffee.
• 43:10
  Peter Eggleston Connor: Making the coffee.
• 43:15
  Tad Eggleston: I like the spaces in between.
• 43:22
  Tad Eggleston: Some of these have way more panels than most American comics would ever have. That's one of the big differences between Band and American comics, is like…
• 43:35
  Tad Eggleston: 9 Panels is, like, tops for an American comic most of the time, and, like.
• 43:40
  Tad Eggleston: 3 to 5 is average, and, like… This breakfast scene has… I guess it's only…
• 43:49
  Matt: It's only 9.
• 43:50
  Tad Eggleston: It's only 9, but it's 4 rows to get to the 9.
• 43:53
  Matt: Yep.
• 44:01
  Tad Eggleston: This one's, what, 2, 6…
• 44:03
  Matt: Right.
• 44:04
  Tad Eggleston: 10.
• 44:06
  Tad Eggleston: 10 in 5 rows.
• 44:12
  Peter Eggleston Connor: There you have it.
• 44:14
  Tad Eggleston: You know… And oftentimes, what they're adding in isn't more action. If anything, like, there's often less overall…
• 44:26
  Tad Eggleston: action, action. Again, they'll add in…
• 44:30
  Tad Eggleston: Those spaces in between that make it feel… more human.
• 44:37
  Tad Eggleston: And I love that.
• 44:40
  Tad Eggleston: You know, when we have action, we've got 4 widescreen panels.
• 44:44
  Tad Eggleston: You know… Yeah.
• 44:49
  Peter Eggleston Connor: Runaway Stars!
• 44:53
  Tad Eggleston: Is this on, like, a… yeah, it's on, like, a Starliner.
• 44:57
  Peter Eggleston Connor: Yeah, it's kind of like the, the ship in a… Fifth element?
• 45:05
  Peter Eggleston Connor: battle.
• 45:06
  Peter Eggleston Connor: I was gonna say, is this one ends a lot like Venus ends.
• 45:11
  Peter Eggleston Connor: Where it feels like there's, like, this connection that, you know, is being hoped for, and then…
• 45:22
  Peter Eggleston Connor: It ends up not happening.
• 45:25
  Tad Eggleston: Yeah.
• 45:26
  Peter Eggleston Connor: Gross.
• 45:29
  Tad Eggleston: Well, I mean, that's a,
• 45:34
  Tad Eggleston: It's almost the definition of… of liminal.
• 45:38
  Tad Eggleston: You know, here's this moment.
• 45:41
  Peter Eggleston Connor: Oh, for sure.
• 45:43
  Tad Eggleston: I don't…
• 45:44
  Peter Eggleston Connor: Yeah, no, I mean, like, this one's definitely… and again, you know, I hadn't read the stuff, so I didn't even have the word liminal in my head until you guys brought it up to me today.
• 45:57
  Peter Eggleston Connor: So that's part of it, but…
• 46:03
  Tad Eggleston: Though also…
• 46:08
  Tad Eggleston: He's reading… this book.
• 46:16
  Tad Eggleston: That has her.
• 46:18
  Peter Eggleston Connor: Is it a book or a magazine?
• 46:20
  Tad Eggleston: Book, magazine, possibly comic.
• 46:25
  Tad Eggleston: Any… any of those are…
• 46:32
  Peter Eggleston Connor: Feels a lot like a magazine.
• 46:34
  Tad Eggleston: Yeah.
• 46:35
  Peter Eggleston Connor: Boyd.
• 46:36
  Tad Eggleston: Well, it talks about her being an international star, but I also wonder how much of…
• 46:42
  Tad Eggleston: The… the… the stuff in the reds and pinks?
• 46:47
  Tad Eggleston: Is what he's reading versus… what's happening.
• 46:52
  Peter Eggleston Connor: That's actually a nice, oh, I mean, good question, though. I just thought that he was the guy…
• 46:58
  Peter Eggleston Connor: In the pinks, too.
• 47:01
  Peter Eggleston Connor: But I was gonna say, that's also another comparison with Venus. It has, like, essentially two colors, or two color…
• 47:09
  Peter Eggleston Connor: breakup.
• 47:11
  Peter Eggleston Connor: One's, your reds and pinks, and the other is the, blues and greens.
• 47:27
  Peter Eggleston Connor: Thumbnails is, like, one that feels like it's in the blue-green, and it's…
• 47:32
  Peter Eggleston Connor: You're using a lot of red and purple.
• 47:35
  Peter Eggleston Connor: A little bit of orange.
• 47:44
  Tad Eggleston: It also is… really… Interesting to me that he's the one… That shuts things down.
• 48:00
  Tad Eggleston: Like, it turns out that everything he's been doing here Is just, like, customer service.
• 48:18
  Peter Eggleston Connor: You mean visiting with her was just customer service?
• 48:21
  Tad Eggleston: Kinda feels like it, though I can't… I can't decide…
• 48:25
  Peter Eggleston Connor: I mean.
• 48:26
  Tad Eggleston: weather.
• 48:26
  Peter Eggleston Connor: Run!
• 48:27
  Tad Eggleston: Whether he's, like, hacked in… And is security?
• 48:33
  Tad Eggleston: Or… or whether…
• 48:36
  Peter Eggleston Connor: And, like, he takes advantage of that at the end.
• 48:40
  Peter Eggleston Connor: That's how I interpret it, and I don't… and, like, when he…
• 48:45
  Peter Eggleston Connor: Cuts the… or stops things with her, and then, like, walks out.
• 48:51
  Peter Eggleston Connor: I… it doesn't look like he's, like… it looks like he's remorseful. He's got this.
• 48:56
  Tad Eggleston: He is.
• 48:57
  Peter Eggleston Connor: So it's not like he's, like…
• 49:01
  Peter Eggleston Connor: I think he just doesn't think it'll work, and then he leaves and comes up with a plan…
• 49:11
  Tad Eggleston: To dump the asshole.
• 49:13
  Peter Eggleston Connor: To dump the asshole and take his place.
• 49:16
  Tad Eggleston: Right.
• 49:17
  Peter Eggleston Connor: Because… using his security. But then she decides just to stay, So… again, just… You know.
• 49:29
  Peter Eggleston Connor: If there was a hope there between the two of them, it's…
• 49:34
  Peter Eggleston Connor: Ship has… ships passing in the middle of the night, right?
• 49:38
  Tad Eggleston: Right.
• 49:42
  Peter Eggleston Connor: Hold on.
• 49:46
  Tad Eggleston: I do love the robots, too.
• 49:51
  Peter Eggleston Connor: They're pretty interesting, yeah.
• 49:52
  Tad Eggleston: elf-like feet.
• 49:55
  Peter Eggleston Connor: Yeah, they're, like, kind of like skis.
• 49:58
  Tad Eggleston: Right.
• 50:02
  Peter Eggleston Connor: Their bodies are interesting, too, but really weird.
• 50:06
  Tad Eggleston: Yeah.
• 50:08
  Peter Eggleston Connor: Very triangular.
• 50:11
  Peter Eggleston Connor: But not, like… well, actually, in multiple ways, really.
• 50:14
  Tad Eggleston: Ma'am.
• 50:18
  Tad Eggleston: Remember.
• 50:19
  Peter Eggleston Connor: What the hell are you guys talking about? You crazy.
• 50:21
  Matt: No, I'm just… I'm agreeing with everything you're saying.
• 50:24
  Tad Eggleston: Jacques.
• 50:25
  Tad Eggleston: The prey, the…
• 50:27
  Peter Eggleston Connor: That was mostly just…
• 50:28
  Tad Eggleston: Lodny?
• 50:29
  Tad Eggleston: Chronicles, the Yomi Motel, Year 2577, Room 333, Altitude Unknown.
• 50:37
  Tad Eggleston: I feel like this is…
• 50:39
  Peter Eggleston Connor: It's really hard to, like, look at, kind of.
• 50:42
  Peter Eggleston Connor: But it's great.
• 50:45
  Matt: Who knows?
• 50:46
  Tad Eggleston: It feels like it's… it's…
• 50:52
  Tad Eggleston: I mean, I don't know if it actually is, but it feels like it's…
• 50:57
  Peter Eggleston Connor: Photography?
• 50:58
  Tad Eggleston: pictures of models?
• 51:00
  Tad Eggleston: Like, some sort of claymation.
• 51:03
  Matt: Like, that early photography heavy metal.
• 51:05
  Tad Eggleston: That's fine.
• 51:06
  Matt: used to read, yeah.
• 51:08
  Tad Eggleston: Well, and it also, if, like, we don't have a specific kaiju that fits that, but has, like, a Godzilla feel to it.
• 51:18
  Peter Eggleston Connor: Sure.
• 51:18
  Tad Eggleston: To me, anyway, with some of the textures.
• 51:24
  Tad Eggleston: Oh.
• 51:24
  Peter Eggleston Connor: They just keep repeating, keep repeating the same thing over and over again.
• 51:32
  Tad Eggleston: Yep, they keep going through the door, and coming out in the same spot, and going through the door, and coming out in the same spot.
• 51:42
  Peter Eggleston Connor: It's kind of a bit of insanity.
• 51:44
  Matt: Hmm.
• 51:45
  Tad Eggleston: Which is… which is why it's the… it's the last panel that, like.
• 51:49
  Tad Eggleston: finally, like, explains it. Welcome to the Yomi Motel. Room 333 is ready. Your eternal stay begins… now.
• 52:05
  Tad Eggleston: Seth.
• 52:06
  Peter Eggleston Connor: Canada Camp.
• 52:09
  Peter Eggleston Connor: All over again.
• 52:13
  Tad Eggleston: Yep.
• 52:14
  Tad Eggleston: Only this time together, rather than split into a couple.
• 52:18
  Matt: And was that black and white last time?
• 52:20
  Peter Eggleston Connor: that.
• 52:20
  Tad Eggleston: No, we… I think we had color.
• 52:23
  Peter Eggleston Connor: Is it?
• 52:25
  Peter Eggleston Connor: All together, instead of split into a couple? Because, like, there's more…
• 52:30
  Tad Eggleston: I think there's more with these characters.
• 52:33
  Matt: That's very possible.
• 52:35
  Tad Eggleston: But… but even this part, I feel like, was split into…
• 52:40
  Tad Eggleston: At least two parts the last time.
• 52:43
  Peter Eggleston Connor: Maybe? I don't know.
• 52:46
  Tad Eggleston: Cause I feel, I feel like… Feel like we got… the… the… The villains in a.
• 52:55
  Peter Eggleston Connor: separate story.
• 52:55
  Tad Eggleston: Story.
• 52:57
  Peter Eggleston Connor: I…
• 52:58
  Peter Eggleston Connor: I think maybe we got the… the, the gang at the very end of the first story, or…
• 53:05
  Tad Eggleston: Right.
• 53:06
  Peter Eggleston Connor: came in in the second story.
• 53:08
  Matt: That's actually ringing a bell.
• 53:10
  Peter Eggleston Connor: And I remember that now, because it was something, like, there was some weirdness to it.
• 53:17
  Tad Eggleston: Also.
• 53:17
  Matt: The dildo gun wasn't weird enough?
• 53:20
  Tad Eggleston: Well, it wasn't a dildo gun in the version we read. It talks about that in… it was the one time ever…
• 53:28
  Tad Eggleston: That… that they chickened out.
• 53:32
  Matt: Oh, really?
• 53:33
  Tad Eggleston: Yeah, this was the only piece they ever edited.
• 53:39
  Peter Eggleston Connor: C… Tots up.
• 53:43
  Peter Eggleston Connor: This is what always reminds me…
• 53:46
  Tad Eggleston: Yeah, this is… Telechamp is the first chapter of a narrative that refuses polite borders, so there are other chapters.
• 53:55
  Tad Eggleston: But yeah, practice self-censorship when Telechamp was released as a graphic novel.
• 54:01
  Tad Eggleston: It covered…
• 54:03
  Tad Eggleston: Its cover featured an excerpt from page 4 of the story, but the phallic revolver was transformed into a caricature of a 1950s science fiction pistol.
• 54:15
  Peter Eggleston Connor: There you go.
• 54:17
  Matt: So the cover…
• 54:17
  Peter Eggleston Connor: Sir, all the… all the…
• 54:20
  Peter Eggleston Connor: All the gang villains remind me of A Clockwork Orange. I don't remember if I said that last time, but that's…
• 54:26
  Tad Eggleston: Actually, I was gonna say…
• 54:30
  Tad Eggleston: I feel like we've got the Joker, the Wriggler, the Riddler, the Penguin, and the guy from Clockwork Orange.
• 54:37
  Matt: Yeah.
• 54:43
  Tad Eggleston: I mean, I know the nose on the Penguin guy is part of the mask, but, like, it just… it has that feel to it.
• 54:51
  Peter Eggleston Connor: I mean, for me, it just feels like the game from a clockwork orange.
• 54:54
  Tad Eggleston: I thought they all had hats, though.
• 54:56
  Peter Eggleston Connor: They do all have hats.
• 54:58
  Tad Eggleston: And none of them were… was a Joker.
• 55:01
  Matt: Right, and they were driving a Durango, so, you know…
• 55:03
  Peter Eggleston Connor: But they also were all pretty pale. They also… Had a… I mean, like… It's not perfect, but…
• 55:14
  Peter Eggleston Connor: if you take the parts of the stories from A Cockwalk Orange, they have the stupid scene that I don't really want to talk about, because it's.
• 55:23
  Tad Eggleston: Right.
• 55:23
  Peter Eggleston Connor: ask.
• 55:24
  Matt: When he's given her a bit of the old in-out, in-out.
• 55:26
  Peter Eggleston Connor: Which the dildo gun, you know, kind of reminisces.
• 55:31
  Matt: Oh, dude!
• 55:32
  Peter Eggleston Connor: Over at…
• 55:33
  Peter Eggleston Connor: is very much part of that. Also, in the dildo gun scene, they wear those fucking stupid-ass masks.
• 55:42
  Matt: movie, when he picks up the fucking penis sculpture and hits her in the face with it?
• 55:47
  Peter Eggleston Connor: Yeah.
• 55:47
  Matt: Oops!
• 55:48
  Matt: It's beautiful. It's art.
• 55:52
  Peter Eggleston Connor: But I mean, like.
• 55:52
  Tad Eggleston: I mean, I still think it's…
• 55:54
  Peter Eggleston Connor: It could still be both, I'm not.
• 55:55
  Tad Eggleston: Yeah, I know.
• 55:56
  Peter Eggleston Connor: You're absolutely right that, like, you know, there is also reminiscence of the Joker, there is also.
• 56:01
  Tad Eggleston: Well, but, but, but… Particularly with the three of them, I feel like it's Batman 66 meets Clockwork Orange.
• 56:09
  Peter Eggleston Connor: Yeah.
• 56:09
  Matt: Absolutely, 100%. That is a perfect description of this piece.
• 56:13
  Peter Eggleston Connor: That's a good description of it.
• 56:15
  Tad Eggleston: Yeah.
• 56:16
  Tad Eggleston: Clark O'Gorn's being 71.
• 56:19
  Peter Eggleston Connor: I… I will say this, I know last time I wa… we read this, I didn't know… hadn't seen Clockwork Orange, and… and since then, I had.
• 56:28
  Peter Eggleston Connor: And I'm not saying I'm happy about it, I'm just saying…
• 56:30
  Tad Eggleston: Right.
• 56:31
  Peter Eggleston Connor: Facts.
• 56:32
  Peter Eggleston Connor: Oh.
• 56:33
  Matt: bother you that much, Peter?
• 56:36
  Tad Eggleston: I'm not a big fan of the rapey scene.
• 56:39
  Peter Eggleston Connor: It doesn't bother… it's not like it bothers me, like, that much, that much, I just, like, I didn't…
• 56:44
  Peter Eggleston Connor: Yeah, the rapie scene is not great.
• 56:47
  Peter Eggleston Connor: The Alex in general, like…
• 56:52
  Peter Eggleston Connor: His internal dialogue is just like…
• 56:57
  Peter Eggleston Connor: super fucking creepy, and sort of like…
• 57:00
  Peter Eggleston Connor: He's like, a bit of the ultraviolence, and it's like…
• 57:04
  Peter Eggleston Connor: Shut the fuck up. And then, like, even, like, the scene where he has sex with the two girls from the one place is kind of weird, and…
• 57:12
  Matt: Give him a bit of the old-in-out-in-out.
• 57:15
  Peter Eggleston Connor: Yeah, his old… yeah.
• 57:18
  Peter Eggleston Connor: I don't know.
• 57:21
  Peter Eggleston Connor: Jeez.
• 57:24
  Peter Eggleston Connor: He's a creep.
• 57:25
  Matt: Yeah, he is. That's the point. He is the bad guy, and yet they wind up apologizing to him at the end. That's the point.
• 57:34
  Peter Eggleston Connor: I was talking about this with my cousin yesterday, and essentially, it's like.
• 57:39
  Peter Eggleston Connor: He is the bad guy, and then, like, the system is so corrupt that not only does it make a bad guy like this, but then eventually apologizes to it and protects it.
• 57:52
  Peter Eggleston Connor: Because the system did him wrong.
• 57:54
  Matt: Because the cure, even though the cure worked, did him wrong, exactly.
• 57:59
  Peter Eggleston Connor: Right.
• 58:00
  Matt: Yep.
• 58:04
  Peter Eggleston Connor: Anyhow… I'm not sure I really want to talk much about Tele… telecamp, it's…
• 58:11
  Tad Eggleston: Although I will… I will point out that…
• 58:15
  Tad Eggleston: It's something that came through more to me this time, I think.
• 58:20
  Tad Eggleston: Is the booster cut?
• 58:22
  Peter Eggleston Connor: Because of…
• 58:23
  Tad Eggleston: was in.
• 58:24
  Peter Eggleston Connor: Alright, alright.
• 58:27
  Tad Eggleston: Is that, like, the two bad guys took each other out completely on accident.
• 58:34
  Peter Eggleston Connor: Yep.
• 58:35
  Peter Eggleston Connor: That was pretty funny.
• 58:38
  Tad Eggleston: So, like, the good characters didn't have to do anything.
• 58:43
  Tad Eggleston: The two bad guys, or the two groups of bad guys, just…
• 58:50
  Peter Eggleston Connor: I mean, he just had to give a karate kick to the robot man.
• 58:53
  Tad Eggleston: Right, but I mean, as it turns out, that was hardly necessary, because…
• 58:57
  Tad Eggleston: Robot Man wound up having this.
• 59:00
  Tad Eggleston: Head taken off.
• 59:03
  Peter Eggleston Connor: Yep.
• 59:04
  Peter Eggleston Connor: Well, I'm not saying it was a… I don't think it's unnecessary.
• 59:09
  Tad Eggleston: That's true.
• 59:10
  Peter Eggleston Connor: I would not say unnecessary.
• 59:13
  Tad Eggleston: That's fair.
• 59:14
  Peter Eggleston Connor: Was it… Not what was needed, ultimately? Yeah, but…
• 59:23
  Peter Eggleston Connor: It was definitely necessary, it just wasn't…
• 59:27
  Peter Eggleston Connor: For the greater victory of overcoming those willoms.
• 59:34
  Peter Eggleston Connor: Little Man of Prague. This is another entertaining one, and very.
• 59:39
  Tad Eggleston: Miguel Villa has actually been a guest on 22 Panels. He's a really cool guy.
• 59:47
  Peter Eggleston Connor: Woo!
• 59:48
  Tad Eggleston: I love… I love his… his books, Comfortless and Milky Way.
• 59:54
  Tad Eggleston: Though they're both… weird and uncomfortable in some of the same ways that Little Man of Prague is.
• 1:00:06
  Peter Eggleston Connor: Yeah.
• 1:00:09
  Tad Eggleston: Though this is… this is, like, the sci-fi version, and… and those are both…
• 1:00:14
  Tad Eggleston: Those are both very much grounded in the real world.
• 1:00:18
  Peter Eggleston Connor: Sure.
• 1:00:19
  Tad Eggleston: This has also got some of a Nick Darnasso feel, if any of you have read.
• 1:00:28
  Tad Eggleston: sabrina, or the acting class.
• 1:00:32
  Matt: Nope.
• 1:00:33
  Peter Eggleston Connor: Cannot say I've read those.
• 1:00:35
  Tad Eggleston: Yeah.
• 1:00:39
  Peter Eggleston Connor: Yeah, it's pretty interesting watching this guy go through this… experience… Staying at this hotel!
• 1:00:49
  Peter Eggleston Connor: I've been feeling like strange things keep happening.
• 1:00:54
  Tad Eggleston: Yeah.
• 1:00:56
  Peter Eggleston Connor: It is really weird that, one, he just sort of puts his tissue there and not a trash bin.
• 1:01:03
  Dillon Gilbertson: Listen, it's a hotel. You don't…
• 1:01:05
  Tad Eggleston: I think…
• 1:01:06
  Dillon Gilbertson: apply at a hotel, you just throw anything anywhere.
• 1:01:08
  Tad Eggleston: I also feel like that is reminiscent of…
• 1:01:13
  Tad Eggleston: trying to remember what I read recently that involved
• 1:01:22
  Tad Eggleston: I don't even think it was a masturbation scene, I think it was an actual sexual encounter scene where, like…
• 1:01:29
  Tad Eggleston: We wiped him off afterwards, but then the next morning, when he looked down, it was, like, covered in ants.
• 1:01:36
  Tad Eggleston: I'm trying to remember what that was.
• 1:01:41
  Peter Eggleston Connor: I have no idea.
• 1:01:43
  Dillon Gilbertson: I thought this was a pretty good story, though, I don't know if we've…
• 1:01:45
  Tad Eggleston: Oh, I love this story.
• 1:01:46
  Dillon Gilbertson: It's great.
• 1:01:52
  Peter Eggleston Connor: I like the creepy old man, and…
• 1:01:54
  Dillon Gilbertson: Oh, yeah.
• 1:01:54
  Peter Eggleston Connor: creepy shit he does, and… the ending.
• 1:01:59
  Dillon Gilbertson: So, he's… he's in room 113.
• 1:02:03
  Peter Eggleston Connor: Though that homunculus looks like it has beaten the shit out of, I don't know why anybody would believe that's the same guy without saying, oh.
• 1:02:12
  Peter Eggleston Connor: Did you get a rash?
• 1:02:14
  Dillon Gilbertson: Well, you don't ask that many questions. Maybe he fell. You don't want to pry into their business. If you zoom… if you zoom in…
• 1:02:20
  Matt: be rude!
• 1:02:21
  Dillon Gilbertson: At the very end, when he's leaving, zoom in on the key that he hands to this woman.
• 1:02:26
  Peter Eggleston Connor: He has two keys.
• 1:02:28
  Dillon Gilbertson: his two keys, which one is kind of weird.
• 1:02:30
  Peter Eggleston Connor: Wow, it's exciting.
• 1:02:31
  Tad Eggleston: Because she lent him the skeleton.
• 1:02:33
  Dillon Gilbertson: Right, but if you… so the skeleton key, I think, is the gray one on the bottom. Yeah. But he's in room 113.
• 1:02:41
  Dillon Gilbertson: And the number on that key, you can't really see the last number, but it looks like it… it could be…
• 1:02:47
  Tad Eggleston: I thought he was in 114, and the scientist guy was in 113.
• 1:02:51
  Dillon Gilbertson: In either case, the key that he hands her does not look like it is a 114 or a 113. It looks like it might…
• 1:02:58
  Tad Eggleston: It's like 114 to me.
• 1:03:00
  Dillon Gilbertson: It looks like a 1-12 to me.
• 1:03:01
  Peter Eggleston Connor: 114. It just looks like his fingers are over the 4, and the last.
• 1:03:06
  Dillon Gilbertson: I think the bottom is too flat. I think it looks like it's a 112.
• 1:03:12
  Peter Eggleston Connor: Oh, we could zoom in.
• 1:03:14
  Tad Eggleston: That's what I'm working on.
• 1:03:19
  Dillon Gilbertson: pants.
• 1:03:21
  Matt: Enhance, oh my god.
• 1:03:23
  Matt: That is…
• 1:03:24
  Peter Eggleston Connor: one wicked enhanced.
• 1:03:27
  Tad Eggleston: No, I'm just…
• 1:03:29
  Dillon Gilbertson: It's alright.
• 1:03:30
  Tad Eggleston: I don't know if I've got it.
• 1:03:33
  Tad Eggleston: available in… this program.
• 1:03:38
  Peter Eggleston Connor: Oh, okay. Alright, alright, alright, alright, alright. So I'd have to…
• 1:03:42
  Tad Eggleston: like, go… We did a program.
• 1:03:44
  Peter Eggleston Connor: I got a solution for us. Let me… let me go take a snippet.
• 1:03:48
  Peter Eggleston Connor: Taking a snippet.
• 1:03:51
  Dillon Gilbertson: snippet.
• 1:03:52
  Peter Eggleston Connor: Because I already zoomed in, so now I just gotta copy it.
• 1:03:57
  Tad Eggleston: Oh, wait a minute, I can just do it with my hands. No, that's definitely a 4.
• 1:04:04
  Peter Eggleston Connor: Oh, there we go.
• 1:04:06
  Dillon Gilbertson: It is a 4, you're right.
• 1:04:08
  Tad Eggleston: I just remembered I have a touchscreen, Peter.
• 1:04:13
  Dillon Gilbertson: Love it all.
• 1:04:13
  Peter Eggleston Connor: Why did I control and scrolled forward.
• 1:04:17
  Dillon Gilbertson: Glad that I made a sidetrack for several minutes for a false alarm.
• 1:04:22
  Peter Eggleston Connor: Yeah.
• 1:04:23
  Peter Eggleston Connor: Just 20 minutes, Dillon, like…
• 1:04:25
  Dillon Gilbertson: Yeah.
• 1:04:26
  Peter Eggleston Connor: We still have half the comic left.
• 1:04:29
  Peter Eggleston Connor: Maybe more than half, actually.
• 1:04:31
  Dillon Gilbertson: Way more than halfway.
• 1:04:32
  Peter Eggleston Connor: reads.
• 1:04:33
  Dillon Gilbertson: Still varying.
• 1:04:33
  Tad Eggleston: Ashland.
• 1:04:34
  Peter Eggleston Connor: Yeah, let's step it up. Half-Life.
• 1:04:37
  Peter Eggleston Connor: It's a great game. No, I'm kidding.
• 1:04:42
  Peter Eggleston Connor: Actually, I like this comic, too.
• 1:04:44
  Dillon Gilbertson: E.
• 1:04:44
  Tad Eggleston: Actually, when we were… when we were talking about hotels and liminal spaces and… and, like.
• 1:04:52
  Tad Eggleston: This is definitely one that I was thinking of.
• 1:04:55
  Tad Eggleston: Because you have him literally leaving her in the night.
• 1:04:59
  Tad Eggleston: Having things just…
• 1:05:02
  Tad Eggleston: Get weird on him in such a way that he doesn't understand, and freaks him out, and…
• 1:05:08
  Tad Eggleston: And then he gets back in time to act like nothing had happened, and, like, I need to…
• 1:05:14
  Peter Eggleston Connor: Oh, that's… I don't think that's him.
• 1:05:17
  Tad Eggleston: Oh, there's that possibility, too.
• 1:05:20
  Peter Eggleston Connor: If you look at the, yeah, the bottom panels in this one, you notice that the…
• 1:05:24
  Tad Eggleston: Yeah, okay.
• 1:05:26
  Peter Eggleston Connor: If you actually watch this creature in general, you slowly notice that he seems to, like, take the shirt of the guy.
• 1:05:32
  Tad Eggleston: Alright!
• 1:05:32
  Peter Eggleston Connor: And he becomes…
• 1:05:33
  Tad Eggleston: him.
• 1:05:34
  Peter Eggleston Connor: Yeah, and then suddenly he returns, and it's like.
• 1:05:37
  Tad Eggleston: So, so this is still all true for her, just no longer for him.
• 1:05:43
  Tad Eggleston: Right.
• 1:05:44
  Matt: appears to be.
• 1:05:47
  Peter Eggleston Connor: I mean, there's no…
• 1:05:48
  Tad Eggleston: Call, Peter!
• 1:05:49
  Peter Eggleston Connor: Fine.
• 1:05:50
  Peter Eggleston Connor: But there's also no real evidence that he lived, so… I don't know.
• 1:05:57
  Tad Eggleston: No, I think the,
• 1:06:00
  Tad Eggleston: The… the… the… Maid needing to clean up is the evidence that he didn't live.
• 1:06:08
  Dillon Gilbertson: Well, the bed… it was all messy when he got there to begin with, right?
• 1:06:12
  Matt: Nope.
• 1:06:13
  Peter Eggleston Connor: Was it?
• 1:06:14
  Dillon Gilbertson: Well, I guess the best…
• 1:06:14
  Tad Eggleston: I thought it was only the bathroom that was messy.
• 1:06:16
  Dillon Gilbertson: About the bed, yeah.
• 1:06:17
  Peter Eggleston Connor: The bed was fine. It was when he got to the bathroom that everything was fine.
• 1:06:22
  Tad Eggleston: Right.
• 1:06:25
  Dillon Gilbertson: Yeah, he did.
• 1:06:26
  Peter Eggleston Connor: He did.
• 1:06:29
  Tad Eggleston: He's been replaced by the alien blob, who's much nicer to his wife than he was.
• 1:06:35
  Dillon Gilbertson: I'm also curious how in the know this, this, this, this maid is.
• 1:06:40
  Dillon Gilbertson: Like, she's walking, there's like, not again.
• 1:06:43
  Peter Eggleston Connor: Goddamn alien blobs that just keep on walking out of this one hotel room.
• 1:06:50
  Peter Eggleston Connor: We should clean up.
• 1:06:52
  Peter Eggleston Connor: But I guess I get paid the big bucks to clean up after them.
• 1:06:55
  Dillon Gilbertson: Yeah.
• 1:06:56
  Dillon Gilbertson: This one…
• 1:06:57
  Peter Eggleston Connor: barefoot.
• 1:06:58
  Dillon Gilbertson: This one had too many jumps in logic, and I was… kinda bummed me out.
• 1:07:02
  Dillon Gilbertson: I guess…
• 1:07:03
  Tad Eggleston: a little bit, but I both like the art and the characters.
• 1:07:07
  Dillon Gilbertson: I did like the… I did like the art in it.
• 1:07:09
  Peter Eggleston Connor: Johnson logic, do you mean them splitting up?
• 1:07:12
  Dillon Gilbertson: No, I mean, things like…
• 1:07:16
  Dillon Gilbertson: like, it's the thing, like, attacks his socks or whatever, and he's like, oh, it must be attracted to the organic matter. It's clearly going after all of the things that have been left behind in this hotel over the years. Like, where the fuck did you get that?
• 1:07:31
  Peter Eggleston Connor: Oh, yeah.
• 1:07:32
  Dillon Gilbertson: Nowhere in what's happening should have led you to this conclusion, but I get that the plot needs you to be there, so we'll go with it.
• 1:07:39
  Tad Eggleston: Well, but also, like… He is organic matter.
• 1:07:45
  Dillon Gilbertson: Sure.
• 1:07:46
  Tad Eggleston: So, I felt like that was just him being, like…
• 1:07:51
  Tad Eggleston: Trying to act cool, and, like, he knew things to… to impress the girl, and… and play…
• 1:07:59
  Tad Eggleston: But also, united shine.
• 1:08:00
  Dillon Gilbertson: It wasn't happening at the time.
• 1:08:02
  Peter Eggleston Connor: I do not feel like he was trying to play Monday night in Shine Armor at that moment and impress the girl. I think it's more likely that he was dealing with an entity he did not understand, it was trying to grasp for anything at a survival plan.
• 1:08:17
  Tad Eggleston: That's also possible.
• 1:08:18
  Peter Eggleston Connor: That seems more likely to me, and I think that's probably how I read it and interpreted it, because I agree with you, it's a stupid jump in logic, but…
• 1:08:33
  Peter Eggleston Connor: he, I think he thinks he's a screw, but, like, if he doesn't figure out something, he thinks he's screwed, which he is. I mean, like, he dies, or gets consumed by the.
• 1:08:42
  Dillon Gilbertson: I'm not gonna give this story that benefit of the doubt.
• 1:08:47
  Dillon Gilbertson: I mean…
• 1:08:48
  Peter Eggleston Connor: And my whole thing was, they go into this haunted place, and they're like, oh, we're gonna split up, and I'm just like…
• 1:08:55
  Tad Eggleston: Well, and also, he's still wearing his socks, so even if, like, it's… it's organic matter that's not living, like, why the fuck didn't you take your socks off?
• 1:09:06
  Dillon Gilbertson: I'm also not really sure.
• 1:09:07
  Matt: He's got a foot fungus, and he doesn't like to walk around.
• 1:09:10
  Peter Eggleston Connor: That's what he said was, it's going after organic matter, so the reason he was doing what he's doing is because she's not wearing socks. He's wearing socks, so he thinks.
• 1:09:20
  Tad Eggleston: Oh, that's…
• 1:09:21
  Peter Eggleston Connor: box.
• 1:09:21
  Dillon Gilbertson: Oh, I see, so then as he walks away, his socks go away, and that's why it attacks him afterward?
• 1:09:28
  Peter Eggleston Connor: as he walks away, it turns out that's not the case. We can see the little… if you look at that, that bottom… Oh, shit!
• 1:09:36
  Dillon Gilbertson: I mean, it's eating away at his socks so that it can't…
• 1:09:38
  Peter Eggleston Connor: He's grabbing his socks, so it's clearly not what he thought.
• 1:09:43
  Dillon Gilbertson: Just once.
• 1:09:44
  Peter Eggleston Connor: this, because… but, like, if you want, like, a full story, he thinks that maybe it's going after organic matter, because he picks her up.
• 1:09:53
  Peter Eggleston Connor: And this top scene here.
• 1:09:56
  Peter Eggleston Connor: And it stops. It's, like, as if it's, like, not… it stops chasing them for a second.
• 1:10:04
  Dillon Gilbertson: They also think it's only after her and not him for some reason.
• 1:10:08
  Tad Eggleston: When in fact, it's after, I think, all of them.
• 1:10:11
  Dillon Gilbertson: Yeah.
• 1:10:12
  Peter Eggleston Connor: It is, but I think it's… it's kind of like…
• 1:10:15
  Peter Eggleston Connor: I don't know why it leaves…
• 1:10:18
  Peter Eggleston Connor: For that split… split second, but it's pretty obvious that, like, it's…
• 1:10:25
  Peter Eggleston Connor: Like, why would his reason for thinking this is not the actual reason for it doing what it does?
• 1:10:30
  Matt: Hmm.
• 1:10:30
  Peter Eggleston Connor: bow.
• 1:10:32
  Tad Eggleston: I do think that this was one where…
• 1:10:36
  Tad Eggleston: The forging the metal was worthwhile.
• 1:10:40
  Tad Eggleston: A group of young adults who find themselves in a horror scenario, much like what often happens in the movies.
• 1:10:46
  Tad Eggleston: Now that you mention it, those character names do sound awfully familiar. I'll swallow your soul, but Jerry wanted a new monster, so he conjured one from the depths of his OCD.
• 1:10:57
  Tad Eggleston: Since I travel a lot, I have often wondered about the cleanliness of hotel carpets.
• 1:11:02
  Tad Eggleston: They look relatively clean, but I can't believe that dirty feet finally bare after a day on the road don't leave traces, sustenance for all the living things that feed off the grime. This moment officially marks our vow never to get frisky on a hotel, motel, or holiday inn floor ever again.
• 1:11:21
  Tad Eggleston: One rapper's delight is another bacteria… another's bacterial fright.
• 1:11:27
  Peter Eggleston Connor: Well, that is very fun, yeah.
• 1:11:29
  Tad Eggleston: Yeah.
• 1:11:31
  Tad Eggleston: And then underfoot is drawn by Afif Khaled. Khaled, who discovered metal through Moibius, and later met
• 1:11:39
  Tad Eggleston: another of his admired artists, Kaza, gives the premise a lineage as well as a texture. The floor is no longer a surface, it's a memory system. It's long.
• 1:11:51
  Tad Eggleston: And the guests have been logging their entries all night.
• 1:12:02
  Tad Eggleston: So… I mean, I can see it working or not working. I think the art is outstanding.
• 1:12:12
  Tad Eggleston: For a short sci-fi horror story?
• 1:12:15
  Tad Eggleston: it works for me? Is it, like, the best ever? No.
• 1:12:22
  Peter Eggleston Connor: Yeah, I mean, as soon as I did the… the…
• 1:12:27
  Peter Eggleston Connor: it's… it's gotten a little cliche when people are like, let's split up, and it's like, I mean, I get why they do it, but if you don't have.
• 1:12:35
  Matt: You and Scooby don't go down to the basement, I'll go upstairs with the girls.
• 1:12:39
  Dillon Gilbertson: Well…
• 1:12:40
  Tad Eggleston: But at the same time, it's also the realistic split up, though, sucks to be the one that's not paired off. You've got two couples and another girl, and it's like, well, we should have separate rooms, let's get it on in a haunted hotel.
• 1:12:56
  Matt: Yeah.
• 1:12:58
  Tad Eggleston: I am.
• 1:12:59
  Matt: the Scooby snap.
• 1:13:00
  Peter Eggleston Connor: Yeah, it's… I mean, I get it, I just, I'm like, why are you in this haunted hotel if your plan is to, like.
• 1:13:08
  Tad Eggleston: Well, I don't think they actually believe it's haunted, either.
• 1:13:12
  Peter Eggleston Connor: I get that, but, like, they're here to, like, get, like, do this video thing, right?
• 1:13:17
  Tad Eggleston: Right.
• 1:13:18
  Peter Eggleston Connor: So, what?
• 1:13:19
  Tad Eggleston: I mean, I don't know if you've noticed this about YouTube influencer types, they're not the most, like, self-aware, or…
• 1:13:30
  Peter Eggleston Connor: Look, fair enough. But here was my point.
• 1:13:34
  Tad Eggleston: You're.
• 1:13:35
  Peter Eggleston Connor: We're talking about one or two different people, and I don't know which it is, and that could be why I'm confused. Because you have the one, the YouTuber influencer type.
• 1:13:45
  Peter Eggleston Connor: who's not here because they do this regularly, like, they do, like, you know, haunted stuff regularly. They're here because they're just like, oh, I want to do something, and, you know, let's do a haunted house, that'll be cool, right? If that's the case, then 100%.
• 1:14:02
  Peter Eggleston Connor: I… I fall behind you, yeah, they… it's kind of dumb.
• 1:14:07
  Peter Eggleston Connor: On the other side, you have, essentially, like, this, like.
• 1:14:12
  Peter Eggleston Connor: at least I feel like there's a thing, just based off of my experiences, you have this, like, group of people who are actually into paranormal shit.
• 1:14:21
  Peter Eggleston Connor: Who will actually, like, go off and explore, like, haunted houses or haunted places, even at night, and even at a level where it's like, they're going into a place where they shouldn't be, at a time they shouldn't be there, without permission, to go explore hauntings.
• 1:14:41
  Peter Eggleston Connor: And admittedly, I don't see any of that equipment with them, so maybe it is just the first one. But…
• 1:14:47
  Tad Eggleston: I mean, I think the fact that they're more worried about the cops than anything else at the beginning…
• 1:14:52
  Tad Eggleston: makes me think that whether it's strictly, like, the YouTube influencer type, or just… Dumb college kids.
• 1:15:01
  Tad Eggleston: It's more…
• 1:15:03
  Matt: Not valid.
• 1:15:04
  Peter Eggleston Connor: But all I meant was, like, if it's, like, sort of these people who go explore, like, sort of this paranormal shit, then it's like…
• 1:15:12
  Peter Eggleston Connor: I don't know, I'd figure this was your job, and that you'd be, like, you know, more focused on the experiences that you had throughout the night than…
• 1:15:22
  Peter Eggleston Connor: Going in, shooting something, saying, okay, we got our… got some shots, now let's say the night.
• 1:15:29
  Peter Eggleston Connor: Let's go, you know… because, I don't know, that's just like…
• 1:15:34
  Tad Eggleston: I guess what I'm saying is my money is on dumb college kids, not experienced paranormal.
• 1:15:41
  Peter Eggleston Connor: I mean, I gather that your money was on dumb… dumb people in general.
• 1:15:46
  Peter Eggleston Connor: That's not entirely unheard of, but it's just like…
• 1:15:51
  Tad Eggleston: Well, the reason I say dumb college kids is, like, it's a particular type of dumb that I think
• 1:15:57
  Tad Eggleston: is more common in youth? Because I don't know that they're dumb-dumb.
• 1:16:04
  Tad Eggleston: They're just not particularly self-aware or worldly.
• 1:16:10
  Peter Eggleston Connor: And they're corny.
• 1:16:12
  Tad Eggleston: Right.
• 1:16:15
  Peter Eggleston Connor: Sure.
• 1:16:15
  Tad Eggleston: you know, they care as much about the story to tell as actually enjoying themselves. I mean, they even hit on that at the beginning, you know.
• 1:16:26
  Tad Eggleston: We get to say that we stayed in a haunt, you know, nothing else, we get to say we spent the night in a haunted hotel.
• 1:16:36
  Tad Eggleston: Yeah, no.
• 1:16:38
  Peter Eggleston Connor: I don't know. That… I mean, I think it's pretty good. I do think, like, I'm not…
• 1:16:44
  Peter Eggleston Connor: I won't arbit sold on that bit of it, but…
• 1:16:48
  Peter Eggleston Connor: I think we all said, you know.
• 1:16:50
  Peter Eggleston Connor: It's not, like, the best horror story, it's just… It's fine. It's good artwork.
• 1:16:57
  Peter Eggleston Connor: It's kind of, like, I think the creature is kind of interesting, though, you know.
• 1:17:01
  Peter Eggleston Connor: I don't think we know anything about it by the end, other than it's… some weird… Blob monster, somehow.
• 1:17:10
  Dillon Gilbertson: art in Hotel Tartarus.
• 1:17:12
  Tad Eggleston: Yeah, I was about to say…
• 1:17:13
  Peter Eggleston Connor: A hotel.
• 1:17:14
  Tad Eggleston: Tartar's Hotel, I… I am… definitely a fan of both the art and the story. This one…
• 1:17:24
  Tad Eggleston: This one was cool.
• 1:17:26
  Dillon Gilbertson: The hotel owner, Karan, he's… a vibe. I love his design.
• 1:17:33
  Tad Eggleston: Bam.
• 1:17:33
  Matt: He's cool.
• 1:17:36
  Peter Eggleston Connor: I thought the hotel owner was, damn.
• 1:17:42
  Dillon Gilbertson: later on, right? Just to… The dude who shuttles people across the river sticks?
• 1:17:47
  Peter Eggleston Connor: Yeah.
• 1:17:51
  Peter Eggleston Connor: Oh, yeah.
• 1:17:52
  Peter Eggleston Connor: You're right.
• 1:17:53
  Dillon Gilbertson: Karen, Karan, Sharon, Jeron, however…
• 1:17:56
  Peter Eggleston Connor: Yeah, I was realizing that you were saying it in a way where I was like, oh.
• 1:18:02
  Peter Eggleston Connor: Why is that?
• 1:18:04
  Dillon Gilbertson: Is that… how… how do… how do you guys pronounce it?
• 1:18:07
  Dillon Gilbertson: I feel like I've heard anything.
• 1:18:07
  Peter Eggleston Connor: I think I heard Karen from…
• 1:18:11
  Peter Eggleston Connor: From, and I'm not saying… This is definitely, like, good.
• 1:18:15
  Peter Eggleston Connor: source, but hate.
• 1:18:17
  Dillon Gilbertson: Hades.
• 1:18:18
  Peter Eggleston Connor: Yeah, the video game?
• 1:18:19
  Dillon Gilbertson: Yep.
• 1:18:20
  Peter Eggleston Connor: Lord Karen.
• 1:18:21
  Dillon Gilbertson: Yeah.
• 1:18:26
  Tad Eggleston: I, really… I really dug both the moving of the Rigid river sticks to New York.
• 1:18:34
  Peter Eggleston Connor: Nope.
• 1:18:35
  Dillon Gilbertson: the East River.
• 1:18:37
  Tad Eggleston: And, and the… She gets pissed off him at the end and steals his job.
• 1:18:49
  Dillon Gilbertson: Yeah, I was curious that she ended up not being such a sympathetic individual.
• 1:18:54
  Tad Eggleston: After all… Well, no, I think…
• 1:18:56
  Dillon Gilbertson: Maybe she started out as that, and then she sort of got jaded as the job went on, and now she hates everybody.
• 1:19:03
  Dillon Gilbertson: Who knows?
• 1:19:03
  Tad Eggleston: I mean, I don't know if she hates everybody, I think she definitely hates him for…
• 1:19:09
  Dillon Gilbertson: And clearly, the guests, they're like, they're gonna pay.
• 1:19:11
  Peter Eggleston Connor: Well, I mean, like, honestly, if you look at these guests, like, everything we see of him and these guests is.
• 1:19:17
  Tad Eggleston: Oh yeah, the guests are horrible.
• 1:19:19
  Dillon Gilbertson: That's what I mean, she starts out as sympathetic, and then as the job goes on, she learns to hate them.
• 1:19:25
  Tad Eggleston: I'm ju- oh, oh, you meant sympathetic to them.
• 1:19:28
  Dillon Gilbertson: No, no, that she, like, we are supposed to sympathize with her.
• 1:19:32
  Tad Eggleston: Oh, I continue to sympathize.
• 1:19:34
  Dillon Gilbertson: And then as it goes, and then…
• 1:19:35
  Peter Eggleston Connor: No lie.
• 1:19:36
  Dillon Gilbertson: I'm advising.
• 1:19:37
  Peter Eggleston Connor: with her when she turns, and like… Fuck all these guests.
• 1:19:41
  Tad Eggleston: I'm… I mean, that's like… that's like saying…
• 1:19:44
  Dillon Gilbertson: They are deserving, sure. Yeah, they're deserving.
• 1:19:46
  Tad Eggleston: That's like saying, oh, she wants to make the Epstein people.
• 1:19:50
  Dillon Gilbertson: Whoa, whoa!
• 1:19:51
  Tad Eggleston: Oh, that's.
• 1:19:52
  Dillon Gilbertson: That's fair.
• 1:19:54
  Dillon Gilbertson: That's.
• 1:19:54
  Tad Eggleston: Because that's what they feel like. They feel like just these horrible human beings.
• 1:19:59
  Dillon Gilbertson: They feel like Epstein Island people, they just feel like shitty guests. Those are… those are oceans apart.
• 1:20:05
  Peter Eggleston Connor: I don't know. You seem like terrible people.
• 1:20:07
  Tad Eggleston: The way they're talking about their parties…
• 1:20:10
  Peter Eggleston Connor: Also, doesn't one of them shove her down the stairs at the beginning?
• 1:20:15
  Dillon Gilbertson: I think she… trips, but…
• 1:20:18
  Peter Eggleston Connor: What you…
• 1:20:19
  Matt: You're right.
• 1:20:19
  Peter Eggleston Connor: I think, yeah.
• 1:20:20
  Matt: for sexual assault.
• 1:20:22
  Peter Eggleston Connor: Let's take a look at this.
• 1:20:24
  Dillon Gilbertson: does not…
• 1:20:25
  Peter Eggleston Connor: No thanks, I gotta go. Don't be a downer, come on, don't.
• 1:20:29
  Dillon Gilbertson: I mean, they're, yeah, I mean, they're… they're… okay, he, he was a little rapey, for sure.
• 1:20:34
  Tad Eggleston: And murdered her.
• 1:20:36
  Dillon Gilbertson: I would… show me the panel where he murdered.
• 1:20:38
  Peter Eggleston Connor: killed her, or…
• 1:20:39
  Dillon Gilbertson: Show me, show me the pin.
• 1:20:40
  Peter Eggleston Connor: That's only the murder page.
• 1:20:44
  Dillon Gilbertson: Oh, you can't find it. Oh, weird.
• 1:20:47
  Dillon Gilbertson: There's no murder panel here.
• 1:20:49
  Tad Eggleston: I mean, he's chasing her to the stairs.
• 1:20:52
  Dillon Gilbertson: Sure.
• 1:20:53
  Tad Eggleston: Screaming at her.
• 1:20:55
  Peter Eggleston Connor: Well, that's not screaming.
• 1:20:57
  Dillon Gilbertson: See, there's a tripping panel right here. Listen, listen, we're… I feel like I'm being painted as this is a good guy, and he wasn't doing anything wrong, which is not the case. He's a scumbag, and he deserves to die, and he deserves the revenge, etc.
• 1:21:10
  Tad Eggleston: I mean, arguably, he's already dead if he's in this hotel.
• 1:21:13
  Dillon Gilbertson: She's rightfully fleeing from her life, from this evil man, but does trip in her fleeing. He does not push her.
• 1:21:22
  Tad Eggleston: But my question is, if you're chasing somebody.
• 1:21:27
  Tad Eggleston: And you chase them to your… to their death, are you less culpable than if you pushed her?
• 1:21:32
  Dillon Gilbertson: I don't think you get charged with murder.
• 1:21:35
  Tad Eggleston: Shoot you?
• 1:21:37
  Peter Eggleston Connor: Let me go a step further, Dillon.
• 1:21:40
  Dillon Gilbertson: Voluntary manslaughter.
• 1:21:41
  Peter Eggleston Connor: Oh, man.
• 1:21:42
  Matt: on.
• 1:21:42
  Peter Eggleston Connor: He brought it in for your life from this guy who is acting super creepy, and, like, he's gonna do bad things to you, and you trip and fall to your death, and there's an afterlife.
• 1:21:56
  Peter Eggleston Connor: How do you feel?
• 1:22:01
  Dillon Gilbertson: I'm just trying to argue semantics here. He didn't murder her. He involuntary manslaughtered her.
• 1:22:06
  Tad Eggleston: Involunteer, okay, fine.
• 1:22:08
  Tad Eggleston: He involuntarily manslaughtered her.
• 1:22:11
  Dillon Gilbertson: They deserve her revenge, no doubt.
• 1:22:15
  Tad Eggleston: The totally creepy dude who's talking about his wild parties that we don't hear a lot about, but they seem really bad, and… and…
• 1:22:26
  Tad Eggleston: Maybe just Diddy parties.
• 1:22:30
  Dillon Gilbertson: I don't need… I mean… I don't even know, but ditty parties are probably worse.
• 1:22:34
  Peter Eggleston Connor: And then they, like, go off and do all this weird… Shit.
• 1:22:40
  Peter Eggleston Connor: Cleaning souls…
• 1:22:43
  Tad Eggleston: Right.
• 1:22:45
  Tad Eggleston: Brian.
• 1:22:48
  Tad Eggleston: Well, in particular, cleaning some of those souls.
• 1:22:54
  Peter Eggleston Connor: Yeah.
• 1:22:56
  Tad Eggleston: I mean, essentially, you've got… you've got the premise here that, like, you can be a horrible, horrible person and pay to get your soul cleaned.
• 1:23:04
  Dillon Gilbertson: Yeah, that's… that's pretty fucked up too, yeah.
• 1:23:07
  Tad Eggleston: And she's the one that had to do it.
• 1:23:11
  Tad Eggleston: And then she finds out that time passes differently, and all her family's dead.
• 1:23:20
  Tad Eggleston: Yeah, no.
• 1:23:21
  Tad Eggleston: I don't stop being sympathetic with her, that's all I'm saying.
• 1:23:25
  Dillon Gilbertson: Yeah, that's fair.
• 1:23:26
  Tad Eggleston: That's true, that's true.
• 1:23:27
  Dillon Gilbertson: I misspoke, I think, when I was trying to describe the surprise at the end. I did not expect her to be as vengeful at the end. Rightfully so, she is.
• 1:23:37
  Tad Eggleston: Right.
• 1:23:38
  Dillon Gilbertson: agree with her being so, but I imagine she was gonna be like, okay, I'm gonna leave now, but instead, she's like, I'm gonna make these people suffer.
• 1:23:45
  Tad Eggleston: Yeah.
• 1:23:47
  Peter Eggleston Connor: Fuck yeah.
• 1:23:48
  Tad Eggleston: Yeah.
• 1:23:49
  Matt: And can you blame her?
• 1:23:51
  Dillon Gilbertson: No, again, rightfully so, but.
• 1:23:53
  Tad Eggleston: Rightfully so.
• 1:23:55
  Tad Eggleston: And I do… I do love that this elevator can… can remove fingers.
• 1:24:00
  Dillon Gilbertson: Yeah, it's a hell of an elevator.
• 1:24:03
  Peter Eggleston Connor: Hello!
• 1:24:04
  Dillon Gilbertson: Elevator, if you will.
• 1:24:07
  Peter Eggleston Connor: an hour, 40 minutes in? Well, maybe not, actually. We started, like, later.
• 1:24:11
  Dillon Gilbertson: Oh yeah, we do, we do, we do gotta.
• 1:24:12
  Peter Eggleston Connor: We are not halfway through.
• 1:24:15
  Tad Eggleston: I will quickly say that Chateau sounds like a place that I want to go, the story itself…
• 1:24:21
  Tad Eggleston: Yeah.
• 1:24:21
  Dillon Gilbertson: I was going.
• 1:24:22
  Tad Eggleston: More like a tease than… than… Than actually something worth…
• 1:24:27
  Peter Eggleston Connor: I enjoyed it, but it's very much like…
• 1:24:34
  Peter Eggleston Connor: I don't think we talk about it a lot. I mean, the short of it is… Thumb… some,
• 1:24:42
  Tad Eggleston: There's… there's just…
• 1:24:43
  Peter Eggleston Connor: The bad guy is being chased by some cop, and he… he goes through a dimensional door, and…
• 1:24:50
  Tad Eggleston: No, no, no, I'm talking about the Chateau, not the next.
• 1:24:52
  Peter Eggleston Connor: Oh, I'm sorry. I didn't read the chateau.
• 1:24:56
  Tad Eggleston: Yeah, that's my… I didn't think you had. The Chateau Marmont is actually a hotel in… in Los Angeles, and it…
• 1:25:06
  Tad Eggleston: Like, the writing here…
• 1:25:08
  Peter Eggleston Connor: Mountain, so…
• 1:25:09
  Tad Eggleston: Made me wanna… made me wanna learn more about it?
• 1:25:13
  Tad Eggleston: But didn't actually teach me anything about it, if that makes sense.
• 1:25:18
  Peter Eggleston Connor: I was gonna say, I've gotten so bad at, like, we just skip… Pro.
• 1:25:22
  Tad Eggleston: Right, right. That's okay. Villa Castagnola is our cop and robber story, falling into another dimension.
• 1:25:31
  Tad Eggleston: Coming back, but by then, the,
• 1:25:34
  Dillon Gilbertson: I like this one. I like that the alien thing… I like the alien thing is like, look, bro, I don't know what I'm doing either. I'm sorry, man. Right.
• 1:25:40
  Tad Eggleston: Right.
• 1:25:41
  Dillon Gilbertson: out.
• 1:25:43
  Tad Eggleston: I feel really bad for the fact that the alien bro got shot.
• 1:25:46
  Dillon Gilbertson: Yeah!
• 1:25:47
  Peter Eggleston Connor: Me too.
• 1:25:48
  Tad Eggleston: But also, really bad that I don't know what happens next with the… with the cool chick that… that shot him, because she was…
• 1:25:57
  Dillon Gilbertson: I would like to continue this story. I would like to learn about what she does here, and how she maybe tries to get back.
• 1:26:04
  Tad Eggleston: Yeah, I would be down with that. And I do love it that the criminal-type guy comes back just in time for the SWAT team.
• 1:26:14
  Peter Eggleston Connor: Yep.
• 1:26:15
  Tad Eggleston: That, that, that was kind of nice.
• 1:26:17
  Dillon Gilbertson: Yep, I did like that one.
• 1:26:19
  Tad Eggleston: Honeymoon Suite might be my favorite story.
• 1:26:22
  Matt: Yeah, it's up there, it's a good one.
• 1:26:24
  Dillon Gilbertson: Yeah, this one was pretty good.
• 1:26:29
  Tad Eggleston: Particularly as you start to, like… deconstruct…
• 1:26:34
  Matt: What's happening? Yeah.
• 1:26:37
  Tad Eggleston: The whole of it?
• 1:26:40
  Tad Eggleston: And realize that they're literally ordering up the experiences, not just… The food and whatnot?
• 1:26:52
  Tad Eggleston: I mean, the art is just outstanding. It reminds me a lot of Darwin Cook.
• 1:26:58
  Tad Eggleston: Particularly, like… Parker Darwin Cook?
• 1:27:06
  Dillon Gilbertson: It's curious that in the beginning, they're so wet. Why are they so wet in the first few panels?
• 1:27:14
  Dillon Gilbertson: They're literally… the door on the very first six doors even went.
• 1:27:20
  Tad Eggleston: I mean, there is that argument.
• 1:27:23
  Peter Eggleston Connor: Well, I mean, what is kind of interesting is… so, and I'm not saying this is right, if you look at the window in the panel right before they come in… actually, if you even look at the.
• 1:27:33
  Dillon Gilbertson: Or is it rain?
• 1:27:34
  Peter Eggleston Connor: Coming in.
• 1:27:35
  Dillon Gilbertson: It's absorbing it outside. I see it.
• 1:27:36
  Peter Eggleston Connor: Looks like it's storming outside, and it looks like, even as they open the door, if you notice.
• 1:27:41
  Dillon Gilbertson: Yeah.
• 1:27:41
  Peter Eggleston Connor: Or on the very left, top left?
• 1:27:44
  Dillon Gilbertson: Yeah, yeah.
• 1:27:45
  Peter Eggleston Connor: sweat, so I think they're coming down from all the rain.
• 1:27:48
  Dillon Gilbertson: Okay. Right.
• 1:27:48
  Peter Eggleston Connor: It just tells you something more about this story, even as you get further from it.
• 1:27:54
  Peter Eggleston Connor: than I hadn't realized before…
• 1:27:57
  Tad Eggleston: Yeah. They're able to order up whole crazy scenarios.
• 1:28:03
  Peter Eggleston Connor: Well, it seems like they might have gone into space.
• 1:28:07
  Peter Eggleston Connor: And the honeymoon was them going into space.
• 1:28:13
  Dillon Gilbertson: Or do you think…
• 1:28:13
  Tad Eggleston: That's what… I… I think…
• 1:28:19
  Peter Eggleston Connor: Because, here's the thing, the rest of the story…
• 1:28:23
  Peter Eggleston Connor: ordering up experiences, they're all in the same room for the rest of it. Like, if you look at it, it's like…
• 1:28:32
  Peter Eggleston Connor: They have a large TV-looking screen.
• 1:28:35
  Matt: They think it's a window.
• 1:28:40
  Tad Eggleston: Yeah.
• 1:28:40
  Peter Eggleston Connor: Until they throw a… throw a…
• 1:28:42
  Matt: fair at it.
• 1:28:42
  Peter Eggleston Connor: chair at it. Right.
• 1:28:44
  Tad Eggleston: But what I'm saying.
• 1:28:45
  Peter Eggleston Connor: There's clearly a screen.
• 1:28:49
  Tad Eggleston: Well, actually, it's very clearly both, because once they show… throw a chair at it, you can see the earth behind it.
• 1:28:58
  Peter Eggleston Connor: That's true, too, yeah.
• 1:29:00
  Tad Eggleston: I… I think that this is, like, a future in which… and… and, like, some of this is… is from…
• 1:29:06
  Tad Eggleston: This is another place where…
• 1:29:09
  Tad Eggleston: Fifth Passage begins with a room that looks designed for romance and confinement all at once. For BDSMers and trauma-bonded couples, these things might go hand in hand, but the protagonist of Honeymoon Suite…
• 1:29:22
  Tad Eggleston: Written by J.R. Huto and drawn by Kurt Merlot.
• 1:29:26
  Tad Eggleston: are on a different journey, shaped by an unused idea from Huto's film Diamond on Vinyl. People in a hotel room pretending to be cooler, more daring versions of themselves that can order freedom.
• 1:29:38
  Tad Eggleston: off a room service menu. Merlot found the visual key while researching 1960s fallout shelters, including one with a fake window looking onto the ocean. The idea unsettled him because it made comfort itself feel like camouflage. For the honeymoon
• 1:29:55
  Tad Eggleston: The suite is spacious. For an exit, it is not nearly spacious enough.
• 1:30:01
  Tad Eggleston: So, what I think is that, like.
• 1:30:05
  Tad Eggleston: They had to leave planet Earth.
• 1:30:09
  Tad Eggleston: But also, there's something wrong with the spaceship.
• 1:30:12
  Dillon Gilbertson: Sure, easy.
• 1:30:12
  Tad Eggleston: We've got how long before our air runs?
• 1:30:14
  Matt: It runs out, yeah.
• 1:30:15
  Peter Eggleston Connor: I mean, something in here made me think that nobody was coming for them, so…
• 1:30:20
  Tad Eggleston: That's what I mean.
• 1:30:22
  Peter Eggleston Connor: And I don't… I don't know about them…
• 1:30:25
  Peter Eggleston Connor: I think the Leave Planner, I mean, like, you could be right, just using the context of that thing, but
• 1:30:31
  Dillon Gilbertson: They never… they never…
• 1:30:32
  Peter Eggleston Connor: So, like…
• 1:30:33
  Dillon Gilbertson: Thank you.
• 1:30:33
  Peter Eggleston Connor: Let me give you a different scenario that I think fits the story, and it's like this. You have a honeymoon. You go get a spaceship, and you get in that spaceship.
• 1:30:44
  Peter Eggleston Connor: and you shoot off into space, right? All of that works with the very beginning of the story. They're in a rainy area, they got on their spaceship, all in the rain.
• 1:30:54
  Peter Eggleston Connor: they shoot off into space and start having their beautiful honeymoon. This is a planned, vacation where, like, ideally, in such and such amount of time, they're supposed to return to Earth or something like that.
• 1:31:08
  Peter Eggleston Connor: the spaceship starts to malfunction, or something happens where they're supposed to be picked up at some point by, I don't know, maybe a larger spaceship or something.
• 1:31:18
  Peter Eggleston Connor: But the idea being that, one way or another, they need to be saved. I think at some point, they're like, actually, even early on, it's like, oh, like, there's some issue. Well, at least we're here in this, like, wonderful place, right?
• 1:31:34
  Peter Eggleston Connor: Right.
• 1:31:37
  Peter Eggleston Connor: But, like…
• 1:31:38
  Tad Eggleston: Oh, wait, it actually starts with, not a bad place to break down, hopefully they'll get it fixed soon.
• 1:31:44
  Peter Eggleston Connor: Right.
• 1:31:45
  Dillon Gilbertson: Yeah, the ship… the ship broke down, so they turned on… they turned this on to, like, escape while they waited for help.
• 1:31:52
  Peter Eggleston Connor: Right.
• 1:31:53
  Dillon Gilbertson: Right.
• 1:31:54
  Peter Eggleston Connor: Their shit broke down, they continued their honeymoon, even so, which, you know, makes sense. I mean, you're there, everything's there for you.
• 1:32:03
  Dillon Gilbertson: But… Sure.
• 1:32:04
  Peter Eggleston Connor: Over time, like, you're seeing who knows how long they're in this one… Like, spaceship hotel room.
• 1:32:13
  Tad Eggleston: Right?
• 1:32:14
  Peter Eggleston Connor: But over time, you know, they just sort of have this break, and it's like, it's been forever, and…
• 1:32:21
  Peter Eggleston Connor: Nobody.
• 1:32:22
  Tad Eggleston: No one's coming.
• 1:32:23
  Dillon Gilbertson: Yep.
• 1:32:24
  Peter Eggleston Connor: So, at the end of the story, you… they're just like, fuck it, like, let's go have something real, get in the spacesuits, and…
• 1:32:34
  Peter Eggleston Connor: Go out the hatch.
• 1:32:35
  Tad Eggleston: Right.
• 1:32:37
  Peter Eggleston Connor: And I don't know what happens after that. I mean, I assume they run out of air or something.
• 1:32:42
  Tad Eggleston: I love this crescent moon.
• 1:32:44
  Peter Eggleston Connor: That's very beautiful.
• 1:32:45
  Tad Eggleston: And… and now almost want to go, like, do the research to see if that is what you…
• 1:32:52
  Tad Eggleston: Would see, from certain angles.
• 1:32:54
  Tad Eggleston: I want to go all Neil deGrasse Tyson on it and go, is this an appropriate…
• 1:33:01
  Tad Eggleston: I don't know that the stars are right.
• 1:33:04
  Tad Eggleston: Buddy?
• 1:33:05
  Peter Eggleston Connor: Either way, I think it's a great story, and I love it.
• 1:33:07
  Tad Eggleston: It is, I like it a lot.
• 1:33:09
  Tad Eggleston: Check out… this one was… I rewatched Gross Point Blank recently.
• 1:33:16
  Dillon Gilbertson: Oh, sure, yeah, that'll do it.
• 1:33:17
  Tad Eggleston: So this… this wound up, like…
• 1:33:20
  Dillon Gilbertson: An idiot.
• 1:33:21
  Tad Eggleston: Hitting me all through that?
• 1:33:26
  Peter Eggleston Connor: Is it weird that he looks like the same… I mean…
• 1:33:29
  Peter Eggleston Connor: I was trying to figure out if they all look like the same guy at the end.
• 1:33:34
  Peter Eggleston Connor: Or not.
• 1:33:35
  Tad Eggleston: A little bit.
• 1:33:37
  Peter Eggleston Connor: But the guy at the end looks a little bit different.
• 1:33:39
  Peter Eggleston Connor: then… like, a lot… I don't know.
• 1:33:44
  Peter Eggleston Connor: He looks like the guy he, the check-in clerk.
• 1:33:48
  Tad Eggleston: Right.
• 1:33:49
  Peter Eggleston Connor: It's just the check-in clerk has more hair.
• 1:33:52
  Peter Eggleston Connor: Right.
• 1:33:54
  Peter Eggleston Connor: I mean, that kind of goes with, like, what's going on, too, so it makes sense.
• 1:33:59
  Tad Eggleston: But, but I do love that this is, this is our, our, our, our second…
• 1:34:04
  Tad Eggleston: Let's shoot the cancer story.
• 1:34:07
  Peter Eggleston Connor: Yup.
• 1:34:08
  Dillon Gilbertson: Dude.
• 1:34:09
  Peter Eggleston Connor: Yep.
• 1:34:15
  Peter Eggleston Connor: two cancer stories.
• 1:34:19
  Tad Eggleston: Two, let me go inside your brain and shoot the cancer stories. Only this time, it was VR.
• 1:34:27
  Peter Eggleston Connor: I don't know what was actually going inside his brain.
• 1:34:30
  Peter Eggleston Connor: this time. It was…
• 1:34:33
  Peter Eggleston Connor: he put on a VR thing, and it's like he went into a VR simulation that…
• 1:34:39
  Peter Eggleston Connor: Essentially allowed him to do the operation as though he was playing a secret agent.
• 1:34:46
  Tad Eggleston: Yeah.
• 1:34:47
  Peter Eggleston Connor: Anyhow, I don't know about…
• 1:34:49
  Tad Eggleston: But also, he's like a professor. He's… he's not… He's not the doctor.
• 1:34:57
  Peter Eggleston Connor: He's not.
• 1:34:58
  Tad Eggleston: No!
• 1:35:02
  Tad Eggleston: That, that part just, like, at the end, it's, it's, it's,
• 1:35:09
  Tad Eggleston: I successfully exacted the tumor professor. Great work, doctor.
• 1:35:15
  Peter Eggleston Connor: There you go.
• 1:35:17
  Dillon Gilbertson: I mean, it's just… just roleplay, it's just roleplay to make the doctors more engaged.
• 1:35:20
  Tad Eggleston: Right.
• 1:35:21
  Dillon Gilbertson: the surgery.
• 1:35:22
  Tad Eggleston: Very good acting professor.
• 1:35:26
  Peter Eggleston Connor: I missed that part.
• 1:35:30
  Tad Eggleston: And then a really weird look on the patients.
• 1:35:35
  Tad Eggleston: face.
• 1:35:36
  Matt: I feel like this is gonna be my favorite story, that one. I love that one.
• 1:35:41
  Tad Eggleston: The, the, the…
• 1:35:43
  Matt: The one we… Yes.
• 1:35:44
  Tad Eggleston: Yeah?
• 1:35:45
  Matt: Yeah.
• 1:35:45
  Tad Eggleston: Check out. It's good.
• 1:35:47
  Matt: Yes, the video game surgery, yes.
• 1:35:49
  Tad Eggleston: Yeah, it's good.
• 1:35:52
  Tad Eggleston: 13.
• 1:35:53
  Peter Eggleston Connor: of 3 strings.
• 1:35:55
  Tad Eggleston: Is… is one that I also liked a lot.
• 1:35:58
  Peter Eggleston Connor: Oops.
• 1:36:00
  Peter Eggleston Connor: It's very interesting, like, they talk about…
• 1:36:04
  Peter Eggleston Connor: Did I call this the forest? I can't remember.
• 1:36:07
  Tad Eggleston: They did. They called it the, The Dark Forest.
• 1:36:14
  Peter Eggleston Connor: Dark Forest, which is just a part of the city.
• 1:36:18
  Peter Eggleston Connor: I do really like this… this little dinosaur guy on the trash can on the page.
• 1:36:23
  Dillon Gilbertson: Oh, yeah, the little doodle there. He looks familiar, like he… that's actually something from…
• 1:36:29
  Dillon Gilbertson: I don't know, like, at a con or something that I've seen before.
• 1:36:32
  Peter Eggleston Connor: Married.
• 1:36:33
  Tad Eggleston: This is very much one of the places where…
• 1:36:39
  Tad Eggleston: Band-Aid to Snee is sometimes very influenced.
• 1:36:44
  Tad Eggleston: by manga.
• 1:36:47
  Tad Eggleston: This is… this is very much got…
• 1:36:52
  Tad Eggleston: a hybrid feel.
• 1:36:54
  Tad Eggleston: Between the two forms.
• 1:36:57
  Peter Eggleston Connor: Sure.
• 1:37:00
  Tad Eggleston: And not just because it's set in Tokyo, but, like…
• 1:37:05
  Tad Eggleston: It's not quite as frenetic as manga often is, but…
• 1:37:10
  Tad Eggleston: But it also has, in this case, more black space, because the pages themselves are black rather than white, than a Band-Aid disnee normally would. More…
• 1:37:23
  Tad Eggleston: More Panels that aren't quite in a grid.
• 1:37:27
  Tad Eggleston: And just a certain level of weirdness.
• 1:37:33
  Tad Eggleston: That I love.
• 1:37:36
  Peter Eggleston Connor: I was super confused about what his, like, friend tells him about the sword.
• 1:37:41
  Dillon Gilbertson: The time knife, we've all seen it.
• 1:37:46
  Dillon Gilbertson: That's it.
• 1:37:47
  Tad Eggleston: Have we all, or was that…
• 1:37:49
  Dillon Gilbertson: That's a good place joke.
• 1:37:50
  Peter Eggleston Connor: Okay. Yeah, I don't know what you're talking about.
• 1:37:52
  Dillon Gilbertson: Yeah, yeah, yeah, the time knife, we've all seen it.
• 1:37:54
  Peter Eggleston Connor: I'm not.
• 1:37:55
  Tad Eggleston: Okay.
• 1:37:56
  Tad Eggleston: I think it's, like, this is your way to save yourself in this situation, because you can essentially…
• 1:38:04
  Peter Eggleston Connor: Yeah, but don't anything…
• 1:38:06
  Dillon Gilbertson: We were replaced by a creature that's not you or something?
• 1:38:09
  Peter Eggleston Connor: It needs, like, you can only use it when, like, it's not just about saving yourself.
• 1:38:15
  Tad Eggleston: Right.
• 1:38:19
  Peter Eggleston Connor: Like, he's like…
• 1:38:20
  Peter Eggleston Connor: And, like, then he uses it, and it's like, wow, did he use that because it was more important, or did he use that…
• 1:38:29
  Peter Eggleston Connor: Cause he was trying to save himself.
• 1:38:35
  Tad Eggleston: Yeah, it's hard to tell.
• 1:38:36
  Peter Eggleston Connor: On that note of, like, this weird mystery with this one.
• 1:38:41
  Tad Eggleston: Well, and it does…
• 1:38:42
  Peter Eggleston Connor: I don't have any problems.
• 1:38:43
  Tad Eggleston: That, like, the, the, the… The price was, essentially, he's gonna have to go back.
• 1:38:52
  Tad Eggleston: I knew that I would lose myself again in the Dark Forest, because those who have crossed it can never forget the mysterious part of their mind or destiny they had to abandon to it.
• 1:39:03
  Peter Eggleston Connor: No.
• 1:39:03
  Tad Eggleston: That's the price of their passage.
• 1:39:10
  Peter Eggleston Connor: That, too.
• 1:39:18
  Tad Eggleston: Heh.
• 1:39:19
  Tad Eggleston: Just… beautiful and weird.
• 1:39:22
  Peter Eggleston Connor: Oh, cool.
• 1:39:23
  Tad Eggleston: rule.
• 1:39:25
  Peter Eggleston Connor: Makes me think of some animes from the 90s.
• 1:39:28
  Tad Eggleston: I love this page here, where he's kneeling in the… in the tee, and she's starting to play her…
• 1:39:35
  Tad Eggleston: Mandolin, and the strings are starting to go across, and you've got the… The Bonsai trees, and…
• 1:39:42
  Tad Eggleston: The teapot, and… such a…
• 1:39:50
  Tad Eggleston: anticipatory panel?
• 1:39:53
  Peter Eggleston Connor: Sure.
• 1:39:55
  Tad Eggleston: Calm, but on the edge of action.
• 1:40:01
  Peter Eggleston Connor: Yep, yep.
• 1:40:02
  Matt: Yeah.
• 1:40:08
  Peter Eggleston Connor: that DM… Hello.
• 1:40:16
  Peter Eggleston Connor: A worldwide way of life.
• 1:40:18
  Peter Eggleston Connor: That's what it's called.
• 1:40:22
  Tad Eggleston: was also…
• 1:40:24
  Matt: Oh, yeah, this one's weird.
• 1:40:27
  Tad Eggleston: Weird as fuck.
• 1:40:29
  Matt: Thank you!
• 1:40:33
  Tad Eggleston: And, and, and with more… Manga anime influence.
• 1:40:40
  Peter Eggleston Connor: Sure.
• 1:40:45
  Peter Eggleston Connor: A lot of weird angles.
• 1:40:48
  Tad Eggleston: Yeah.
• 1:40:54
  Tad Eggleston: And I feel like it's almost like… play this VR game of… of…
• 1:41:03
  Peter Eggleston Connor: Life.
• 1:41:04
  Tad Eggleston: Yeah.
• 1:41:06
  Peter Eggleston Connor: I have no fucking idea what this was.
• 1:41:10
  Tad Eggleston: Did you want to marry a man or a woman? You chose man and, you know…
• 1:41:19
  Dillon Gilbertson: You did it.
• 1:41:26
  Tad Eggleston: Bowski!
• 1:41:27
  Dillon Gilbertson: I like this one a lot, too.
• 1:41:29
  Tad Eggleston: Oh yeah, the last stop was…
• 1:41:31
  Dillon Gilbertson: This one's fair. I really like this one.
• 1:41:33
  Tad Eggleston: Outstanding, outstanding.
• 1:41:39
  Peter Eggleston Connor: Yeah, it was really good. It was…
• 1:41:45
  Peter Eggleston Connor: sci-fi element to it, though, really? I don't know.
• 1:41:48
  Dillon Gilbertson: I understand that it's part of the art style, but her eyes in the second panel on that page go back. No, on the last page.
• 1:42:00
  Dillon Gilbertson: That one.
• 1:42:01
  Dillon Gilbertson: So her eye… her face and eyes in this panel here, I thought she was dead, and I was like, are we gonna reveal that he murdered her at some point and is taking her body? But no, that's… it's just part of the art style.
• 1:42:14
  Dillon Gilbertson: So that got me involved.
• 1:42:15
  Tad Eggleston: Well… I mean, I have…
• 1:42:20
  Dillon Gilbertson: Don't try and convince me she's dead, it's a happy ending.
• 1:42:23
  Tad Eggleston: I hadn't thought this way before, but, like, the question is…
• 1:42:28
  Peter Eggleston Connor: Kind of brought that.
• 1:42:29
  Tad Eggleston: Did she walk away from the suicide, or…
• 1:42:33
  Dillon Gilbertson: Did she succeed, and now she's… this is her… Right. Or her heaven, or something?
• 1:42:39
  Peter Eggleston Connor: Her afterlife.
• 1:42:40
  Tad Eggleston: Yeah.
• 1:42:41
  Dillon Gilbertson: No.
• 1:42:42
  Dillon Gilbertson: No, I'm gonna…
• 1:42:43
  Tad Eggleston: I mean, we do finish with the pills and the razor blades, and…
• 1:42:48
  Tad Eggleston: And what doesn't completely look like a pristine bathtub?
• 1:42:53
  Dillon Gilbertson: You don't know what's in that bathroom.
• 1:42:56
  Peter Eggleston Connor: I mean, it could just be shadows, but… Right.
• 1:43:00
  Tad Eggleston: But it looks like we've got some bubbles, so I feel like we've got water in it, at least.
• 1:43:05
  Dillon Gilbertson: Or… her last gasp of air.
• 1:43:08
  Tad Eggleston: No?
• 1:43:10
  Dillon Gilbertson: No, I'm choosing to believe that she walked away and it's a happy ending.
• 1:43:13
  Tad Eggleston: I overall am too. I think that they both were in a dark place, and in meeting each other, and…
• 1:43:23
  Tad Eggleston: you know…
• 1:43:25
  Tad Eggleston: What happens next? I don't know. And that's okay, because it's that liminal space, it's that space in between, but, like…
• 1:43:35
  Peter Eggleston Connor: I like this story a lot. I will say that the one thing that's kind of weird about it is that I don't…
• 1:43:41
  Peter Eggleston Connor: I feel like there's a lot of sci-fi or fantasy-esque to it, but that's not… that's not a…
• 1:43:46
  Peter Eggleston Connor: It's just interesting, because, like.
• 1:43:48
  Tad Eggleston: Yeah.
• 1:43:48
  Peter Eggleston Connor: of what we have, and I mean, like.
• 1:43:51
  Peter Eggleston Connor: Mel Herlawn is one known for that, and two, it's just, you know…
• 1:43:55
  Peter Eggleston Connor: It's kind of just a different thing.
• 1:44:00
  Peter Eggleston Connor: But it's still nice, and I mean, like.
• 1:44:02
  Tad Eggleston: Yeah, no, that's a good point.
• 1:44:04
  Peter Eggleston Connor: Depending how you interpret the end. But…
• 1:44:06
  Tad Eggleston: Right.
• 1:44:10
  Tad Eggleston: Well, and actually.
• 1:44:11
  Peter Eggleston Connor: allowing them to be there.
• 1:44:13
  Tad Eggleston: Well, here, here's another thing.
• 1:44:15
  Peter Eggleston Connor: Sure.
• 1:44:22
  Tad Eggleston: Between the Shall We Sit Outside, and the conversation.
• 1:44:28
  Tad Eggleston: She sheds the kimono.
• 1:44:31
  Tad Eggleston: That is on the floor by the bathtub.
• 1:44:34
  Tad Eggleston: with the…
• 1:44:41
  Dillon Gilbertson: It's because she put on real clothes when they went into his Volkswagen, or whatever.
• 1:44:48
  Tad Eggleston: Well, I mean, she put on clothes to go out, and then she would get dressed again before getting into his…
• 1:44:57
  Tad Eggleston: And we've just got a couple of costume changes here.
• 1:45:01
  Dillon Gilbertson: Yeah, yeah.
• 1:45:02
  Tad Eggleston: And he's got one, too.
• 1:45:04
  Peter Eggleston Connor: Yeah.
• 1:45:06
  Peter Eggleston Connor: Yeah, that's true.
• 1:45:08
  Peter Eggleston Connor: I was gonna say.
• 1:45:09
  Tad Eggleston: So that might be your sci-fi aspect, is that there's room to wonder.
• 1:45:14
  Dillon Gilbertson: that their clothes change. They have… they have sci-fi clothes changes.
• 1:45:20
  Tad Eggleston: Well, but also, again, like, these last 4 panels…
• 1:45:24
  Dillon Gilbertson: Hmm.
• 1:45:25
  Tad Eggleston: From your pointing out that she's kind of got deaddish-looking eyes.
• 1:45:36
  Peter Eggleston Connor: I don't.
• 1:45:36
  Tad Eggleston: to…
• 1:45:37
  Peter Eggleston Connor: Remember this next comment, though.
• 1:45:39
  Tad Eggleston: Yeah.
• 1:45:40
  Dillon Gilbertson: What's…
• 1:45:41
  Tad Eggleston: In between.
• 1:45:43
  Peter Eggleston Connor: like, distracted.
• 1:45:44
  Dillon Gilbertson: No, yeah, we've…
• 1:45:45
  Tad Eggleston: That's okay.
• 1:45:46
  Tad Eggleston: The Beau de Rocher Brunes.
• 1:45:51
  Tad Eggleston: Yeah, this one was also a little weird, because, like, you start out with this… this…
• 1:45:57
  Tad Eggleston: Extravagant hotel, and then it immediately goes into… Like, never-ending corridors, and…
• 1:46:06
  Dillon Gilbertson: Got the shining carpet pattern.
• 1:46:08
  Tad Eggleston: Yeah.
• 1:46:09
  Peter Eggleston Connor: Nice.
• 1:46:11
  Peter Eggleston Connor: There it is, yep, that's the shining carpet pattern.
• 1:46:14
  Dillon Gilbertson: No, the other, the other page. Oh, not this one. Go back two pages.
• 1:46:17
  Peter Eggleston Connor: I was looking at it on a different page.
• 1:46:19
  Dillon Gilbertson: Go back to this one.
• 1:46:20
  Peter Eggleston Connor: Saying that one. That one, yes.
• 1:46:23
  Peter Eggleston Connor: I have a second screen, Dillon.
• 1:46:26
  Dillon Gilbertson: Alright, well listen, the audience doesn't.
• 1:46:29
  Peter Eggleston Connor: Well, the audience doesn't even have this screen.
• 1:46:31
  Tad Eggleston: The audience doesn't have any screens.
• 1:46:32
  Dillon Gilbertson: Didn't we talk about doing video at one point?
• 1:46:34
  Tad Eggleston: We did, but we never actually.
• 1:46:36
  Dillon Gilbertson: Ew.
• 1:46:37
  Tad Eggleston: to do it in a way that I was comfortable with, and we'll keep… keep thinking about that.
• 1:46:42
  Dillon Gilbertson: Right, yeah.
• 1:46:42
  Tad Eggleston: I ever figured out a way to do it, like, Mystery Science theater style, where we could take…
• 1:46:49
  Tad Eggleston: somehow have, like, our silhouettes down at the bottom, I'd be way more comfortable.
• 1:46:54
  Dillon Gilbertson: Oh, that would be cool, yeah.
• 1:46:56
  Tad Eggleston: But, I haven't figured out how to do that.
• 1:46:58
  Dillon Gilbertson: Yeah, that's fair.
• 1:46:59
  Tad Eggleston: out massive amounts of editing.
• 1:47:01
  Dillon Gilbertson: Fair.
• 1:47:02
  Tad Eggleston: And I don't want to do it that much. If I could find a way to do it live, that would be cool.
• 1:47:09
  Peter Eggleston Connor: Okay, yeah, I remember those. It starts off looking like paradise, and…
• 1:47:13
  Peter Eggleston Connor: It, like, you get more and more into… Like, just… eternal… Nothing.
• 1:47:23
  Peter Eggleston Connor: reflections and shadows and darkness. Yep.
• 1:47:29
  Peter Eggleston Connor: I really…
• 1:47:30
  Tad Eggleston: Then our…
• 1:47:30
  Peter Eggleston Connor: Gotta get away.
• 1:47:31
  Tad Eggleston: Weekend Getaway was definitely another…
• 1:47:34
  Peter Eggleston Connor: It might be… it might be my favorite comic, actually, as I think about it.
• 1:47:38
  Tad Eggleston: The fighting makes the walls come in.
• 1:47:43
  Peter Eggleston Connor: Yeah, and they can't, like… they notice it, and he, like, is trying to say something, or, like…
• 1:47:50
  Peter Eggleston Connor: They're trying to stop, but they just can't.
• 1:48:02
  Peter Eggleston Connor: Until the point where, like, Moving forward.
• 1:48:07
  Tad Eggleston: To this trip was a bad idea.
• 1:48:09
  Peter Eggleston Connor: Alpha.
• 1:48:10
  Tad Eggleston: Now, here's my question, like, because it gets veinier and vainier, so are they…
• 1:48:16
  Tad Eggleston: Like, inside of a creature, or…
• 1:48:20
  Peter Eggleston Connor: That definitely feels… Does it even…
• 1:48:21
  Tad Eggleston: matter.
• 1:48:25
  Peter Eggleston Connor: It feels like the living hotel that feeds on your anger.
• 1:48:32
  Tad Eggleston: It definitely, charles Burns-esque with, art.
• 1:48:43
  Tad Eggleston: I think, anyway.
• 1:48:44
  Peter Eggleston Connor: retrained… no, I'm kidding.
• 1:48:46
  Tad Eggleston: You know, a couple of.
• 1:48:47
  Peter Eggleston Connor: A couple of the…
• 1:48:49
  Tad Eggleston: a couple of the hotel sequences have definitely made me think of Mystery Train.
• 1:48:56
  Tad Eggleston: Which, I mean, come to think of it, that's also part of what Mystery Train is about, is the liminal space in between.
• 1:49:02
  Tad Eggleston: you know, the vacation for the Japanese kids, the… the… Picking up her…
• 1:49:13
  Tad Eggleston: Or transit of her husband's corpse.
• 1:49:17
  Tad Eggleston: the… The bad night that turns into, oh shit, we're probably fucked our entire lives.
• 1:49:29
  Peter Eggleston Connor: Yup.
• 1:49:30
  Tad Eggleston: Matt, did you go away?
• 1:49:32
  Matt: No, I'm here.
• 1:49:34
  Tad Eggleston: Do you… do you agree that this feels Burns-esque?
• 1:49:38
  Matt: Yes.
• 1:49:40
  Tad Eggleston: Just because I know you… you've read Charles Burns.
• 1:49:44
  Tad Eggleston: I don't know what the story feels… I haven't read enough Charles Burns to completely say that the story itself is Burns-esque, though…
• 1:49:51
  Tad Eggleston: I'd almost go there, but the art is definitely Burns-esque.
• 1:50:00
  Tad Eggleston: Sleepwalker was also…
• 1:50:03
  Dillon Gilbertson: I loved this one, too. I really enjoyed this one.
• 1:50:06
  Peter Eggleston Connor: Walker was really good as well.
• 1:50:08
  Tad Eggleston: This is probably the one that had me thinking the most about Gross Point Blank, though.
• 1:50:13
  Dillon Gilbertson: Yeah, yeah, yeah.
• 1:50:14
  Peter Eggleston Connor: I could see the…
• 1:50:16
  Dillon Gilbertson: I love this dude's design, in that he's got a little… spider? Remote spider friend.
• 1:50:21
  Tad Eggleston: Yeah.
• 1:50:25
  Dillon Gilbertson: I don't know, I just love the way this comic moved. Just, like, the pacing of it, and how the panel layouts and everything, I just loved everything about this comic.
• 1:50:35
  Peter Eggleston Connor: Yeah.
• 1:50:36
  Tad Eggleston: I love even the… The, the, the mattress… Mattress Perfect Dreams?
• 1:50:42
  Dillon Gilbertson: Yeah.
• 1:50:43
  Tad Eggleston: the… The billboard that he picks her… picks her up by?
• 1:50:49
  Peter Eggleston Connor: Behind, yep.
• 1:50:51
  Tad Eggleston: Actually, I think he picks her up in front of it, but then we get to see the silhouette from behind it.
• 1:50:56
  Peter Eggleston Connor: Oh, yeah, you're absolutely right about that.
• 1:51:00
  Tad Eggleston: Yeah.
• 1:51:01
  Peter Eggleston Connor: Because we're reading it backwards.
• 1:51:04
  Peter Eggleston Connor: I just meant… He's behind it.
• 1:51:07
  Tad Eggleston: Right.
• 1:51:08
  Peter Eggleston Connor: See me.
• 1:51:15
  Tad Eggleston: And then just the… Opening up the door and seeing the…
• 1:51:20
  Dillon Gilbertson: The different weird things that are in the hotel room.
• 1:51:25
  Tad Eggleston: Sorry, you're naked with a boa constrictor upon you. Let me go to the next one.
• 1:51:30
  Dillon Gilbertson: His brain's missing, he doesn't know what he's doing.
• 1:51:33
  Tad Eggleston: Also, the whole, like, I have to wait for the signal, it's coming. The guy across the way, he's the one that got the signal, huh? Where's the exit?
• 1:51:49
  Tad Eggleston: And then she just… do you know him? No.
• 1:51:53
  Peter Eggleston Connor: I mean, she was sleepwalking.
• 1:51:55
  Tad Eggleston: That's true.
• 1:51:56
  Dillon Gilbertson: Yep.
• 1:52:02
  Peter Eggleston Connor: It seems like he was after the mark.
• 1:52:06
  Tad Eggleston: Yeah.
• 1:52:06
  Peter Eggleston Connor: what I gathered from it.
• 1:52:10
  Tad Eggleston: Well, and because he'd screwed up the previous one.
• 1:52:13
  Dillon Gilbertson: Yeah, so…
• 1:52:13
  Tad Eggleston: when I'm in the hospital.
• 1:52:15
  Dillon Gilbertson: They had to eliminate him because he fucked up the job.
• 1:52:17
  Tad Eggleston: I think that's full-on what made me think gross point blank. It's like… Oh, yeah!
• 1:52:23
  Tad Eggleston: Hitman… Who fail become liabilities.
• 1:52:28
  Dillon Gilbertson: Right.
• 1:52:29
  Peter Eggleston Connor: Right.
• 1:52:33
  Tad Eggleston: I… I loved the unexpected caller.
• 1:52:38
  Tad Eggleston: The art is just… Creepy.
• 1:52:42
  Matt: Creepy is one way to put it.
• 1:52:45
  Matt: Man.
• 1:52:46
  Peter Eggleston Connor: And… the young girl is pretty nice looking.
• 1:52:50
  Tad Eggleston: Yeah, yeah, yeah.
• 1:52:53
  Tad Eggleston: Well, and I love… I love how she's there to… and here we go… that they're… they're, like…
• 1:53:03
  Tad Eggleston: they're the Tories, or the GOP, or… or…
• 1:53:08
  Tad Eggleston: The old people who don't want a world that favors Anybody but… them.
• 1:53:19
  Tad Eggleston: And she shows them the light by opening the window, and it destroys them.
• 1:53:31
  Tad Eggleston: And I go door-to-door selling books. I love it.
• 1:53:37
  Tad Eggleston: I rang the bell, and the door opened all by itself.
• 1:53:46
  Peter Eggleston Connor: I like that shit.
• 1:53:47
  Tad Eggleston: Cornelius.
• 1:53:49
  Peter Eggleston Connor: Actually.
• 1:53:49
  Tad Eggleston: Right?
• 1:53:50
  Peter Eggleston Connor: I know I see she has this little snag. Sorry, it's a little minor, but, like.
• 1:53:55
  Peter Eggleston Connor: When she first shows up, it's there…
• 1:54:00
  Peter Eggleston Connor: Yeah, it's there at our food, and then… I felt like it was in…
• 1:54:06
  Tad Eggleston: Oh.
• 1:54:07
  Peter Eggleston Connor: Stuff at one point, too.
• 1:54:08
  Tad Eggleston: She's Eve. She brought knowledge.
• 1:54:14
  Peter Eggleston Connor: Oh, that's not… That makes sense, and I.
• 1:54:19
  Tad Eggleston: It's in her purse here, too.
• 1:54:21
  Peter Eggleston Connor: Yeah, that's what I was looking for.
• 1:54:23
  Tad Eggleston: Stand on the floor.
• 1:54:24
  Peter Eggleston Connor: snakes.
• 1:54:26
  Peter Eggleston Connor: Oh, there you go.
• 1:54:28
  Tad Eggleston: Oh, wow.
• 1:54:29
  Peter Eggleston Connor: Cornelius.
• 1:54:31
  Tad Eggleston: Love it, love it, love it.
• 1:54:34
  Tad Eggleston: Cornelius has got some… What does this art remind you of?
• 1:54:39
  Matt: Mike McNoy.
• 1:54:41
  Tad Eggleston: McNuh?
• 1:54:42
  Dillon Gilbertson: I was gonna say it's kinda… it's kinda got a Murray Anger vibe to it, if that… if that rings a bell with anybody.
• 1:54:51
  Peter Eggleston Connor: It has a distinct style that reminds me of something, but I have no idea what.
• 1:54:56
  Dillon Gilbertson: It's kinda has-been Hotel-y.
• 1:54:58
  Peter Eggleston Connor: Yeah, I'd buy that.
• 1:55:00
  Peter Eggleston Connor: A little bit.
• 1:55:05
  Peter Eggleston Connor: I mean, I actually haven't seen Asben Hotel.
• 1:55:07
  Dillon Gilbertson: You've seen… you've seen the art for it, I'm sure.
• 1:55:10
  Peter Eggleston Connor: in the R4, yeah.
• 1:55:12
  Peter Eggleston Connor: So I don't know if, like, you know, maybe there's more… I realized, I just…
• 1:55:16
  Peter Eggleston Connor: I've seen enough art where it's like, it feels a little bit like that, yeah.
• 1:55:20
  Dillon Gilbertson: You know.
• 1:55:22
  Peter Eggleston Connor: But also a little bit more chaotic.
• 1:55:25
  Peter Eggleston Connor: than the art I've seen unleashed.
• 1:55:31
  Tad Eggleston: It's got…
• 1:55:32
  Peter Eggleston Connor: out again?
• 1:55:33
  Tad Eggleston: A little bit of a color, Johnny the Homicidal Maniac.
• 1:55:40
  Tad Eggleston: Or… Tad McKeever that it also reminds me of.
• 1:55:46
  Tad Eggleston: Not as much for keever, but a little…
• 1:55:49
  Matt: A little bit, though. I can see…
• 1:55:51
  Tad Eggleston: Yeah.
• 1:55:52
  Tad Eggleston: Yeah, yeah.
• 1:55:53
  Peter Eggleston Connor: I don't remember what this one was about.
• 1:55:56
  Tad Eggleston: I don't know if I totally figured out what this one was about.
• 1:55:59
  Peter Eggleston Connor: And I was like, oh, this is… this is nice picture, kind of fun pictures, and then I was like, oh, it's over, and I moved on.
• 1:56:08
  Tad Eggleston: I don't know if I totally figured out what this was about.
• 1:56:11
  Peter Eggleston Connor: Oh, it's like…
• 1:56:13
  Tad Eggleston: There's another one about a hotel, but…
• 1:56:15
  Peter Eggleston Connor: I think, if I remember this correctly, he goes to, like, this place, and talks to this guy, and this guy's like, oh, there's some weird shit going on, essentially.
• 1:56:27
  Peter Eggleston Connor: And essentially, he… at the end, he's just like, we have to leave, because, like, this place is owned by the ghosts or whatever now.
• 1:56:35
  Tad Eggleston: Right.
• 1:56:36
  Peter Eggleston Connor: I don't know.
• 1:56:38
  Peter Eggleston Connor: That's… I don't remember much about it, but that's kind of the vibe I get from it.
• 1:56:44
  Tad Eggleston: Yeah… Logic in the Phantasm was also really cool.
• 1:56:53
  Matt: Nice art.
• 1:56:55
  Peter Eggleston Connor: Talking about the devil. Your devil.
• 1:56:58
  Tad Eggleston: And that we don't actually have one, because it got…
• 1:57:02
  Tad Eggleston: Got stuck on… on a moon of… frozen moon of Saturn.
• 1:57:08
  Peter Eggleston Connor: Nope.
• 1:57:14
  Peter Eggleston Connor: That was fun.
• 1:57:18
  Tad Eggleston: And, and, and warned us of cats.
• 1:57:24
  Peter Eggleston Connor: Which we praise, so yeah.
• 1:57:27
  Tad Eggleston: I love cats, but I understand the warning.
• 1:57:39
  Tad Eggleston: Motionless Journey was pretty cool, too.
• 1:57:42
  Peter Eggleston Connor: This is that weird one where, like, instead of doing a thing, you just…
• 1:57:45
  Peter Eggleston Connor: Continues to cyclically do the same thing over and over again, right?
• 1:57:51
  Tad Eggleston: Pretty much.
• 1:57:54
  Tad Eggleston: Let's get the spiral going.
• 1:58:09
  Tad Eggleston: So, like, his journey was all… Essentially while sleeping, I think.
• 1:58:23
  Tad Eggleston: Salted soul.
• 1:58:27
  Tad Eggleston: This was another one that I really loved the art on.
• 1:58:31
  Peter Eggleston Connor: Yeah, the art was good. I really… the story's amusing, too.
• 1:58:36
  Peter Eggleston Connor: Yeah. Pay attention to it.
• 1:58:39
  Peter Eggleston Connor: Because essentially, people just go walk out in the mist, and then suddenly the next day.
• 1:58:47
  Peter Eggleston Connor: Their likeness is on the menu. Suggests there.
• 1:58:50
  Tad Eggleston: Right, right.
• 1:58:51
  Peter Eggleston Connor: Go ahead.
• 1:58:52
  Peter Eggleston Connor: It also tells you that when he goes back and thinks back to this time where, like, this woman left him and did this thing.
• 1:59:00
  Peter Eggleston Connor: she probably didn't escape, she probably became…
• 1:59:08
  Tad Eggleston: Right.
• 1:59:09
  Peter Eggleston Connor: Had the same fate as everybody else that we see.
• 1:59:14
  Tad Eggleston: Though, there's also the twist that…
• 1:59:18
  Tad Eggleston: There… there's a woman looking for him.
• 1:59:21
  Peter Eggleston Connor: Oh yeah, there's a…
• 1:59:23
  Tad Eggleston: In the final panels.
• 1:59:30
  Peter Eggleston Connor: Yeah, but she just says, I thought I saw my fellow guest running… On the beach last night.
• 1:59:35
  Tad Eggleston: Okay.
• 1:59:38
  Tad Eggleston: That's fair.
• 1:59:39
  Peter Eggleston Connor: Which is, I think, something he mentioned earlier in, like, he's like.
• 1:59:43
  Tad Eggleston: Yeah, he felt like…
• 1:59:44
  Peter Eggleston Connor: other guests. Right. I thought it was also some other guests, like, walking in the mess.
• 1:59:49
  Peter Eggleston Connor: I couldn't really see, you know, like, you're just crazy.
• 1:59:54
  Peter Eggleston Connor: I mean, they didn't say it like that, but…
• 2:00:00
  Peter Eggleston Connor: That was about the sum of it.
• 2:00:04
  Tad Eggleston: Also, there's the… He lived because he was beat up by her lover.
• 2:00:14
  Tad Eggleston: And they became part of the menu?
• 2:00:18
  Tad Eggleston: You get to see that in the middle.
• 2:00:23
  Tad Eggleston: That when he lost the eye…
• 2:00:26
  Peter Eggleston Connor: Yeah, he lost the eye because he was not very nice to wear.
• 2:00:32
  Peter Eggleston Connor: I think he caught them… cheating on him, though.
• 2:00:36
  Tad Eggleston: Right. Right.
• 2:00:40
  Peter Eggleston Connor: Yep.
• 2:00:41
  Peter Eggleston Connor: So we got in.
• 2:00:43
  Peter Eggleston Connor: Like, I'm not saying he should have done anything, I'm just saying.
• 2:00:47
  Tad Eggleston: No.
• 2:00:50
  Peter Eggleston Connor: You know.
• 2:00:55
  Tad Eggleston: Dustbird with some very cool art. Kazakh.
• 2:00:58
  Peter Eggleston Connor: Plus, but we've seen it before.
• 2:01:00
  Tad Eggleston: We have.
• 2:01:01
  Peter Eggleston Connor: And talked about it, and while I think it's probably crisper than it was, it's… not…
• 2:01:09
  Tad Eggleston: Not necessarily.
• 2:01:09
  Peter Eggleston Connor: Lock Bob, because he doesn't remember seeing it.
• 2:01:14
  Dillon Gilbertson: Was this in… was that in color the first time we saw it?
• 2:01:17
  Peter Eggleston Connor: That's bird, I don'.
• 2:01:18
  Tad Eggleston: I think so.
• 2:01:20
  Peter Eggleston Connor: I think it's always been black and white. I could be wrong, though.
• 2:01:23
  Dillon Gilbertson: I don't…
• 2:01:24
  Tad Eggleston: I don't think there's ever a situation where we saw it in color, and…
• 2:01:28
  Dillon Gilbertson: they were.
• 2:01:29
  Tad Eggleston: Heavy metal.
• 2:01:30
  Dillon Gilbertson: They always add color, but they never.
• 2:01:31
  Tad Eggleston: Right.
• 2:01:35
  Tad Eggleston: And now we're back to the Paradise Hotel.
• 2:01:38
  Tad Eggleston: In the Dreamer.
• 2:01:42
  Tad Eggleston: The Dreamer Scott.
• 2:01:44
  Tad Eggleston: Some crazy good art, too.
• 2:01:46
  Matt: Yep.
• 2:01:47
  Tad Eggleston: The soul looking for the body.
• 2:01:50
  Matt: That's, that's.
• 2:01:50
  Dillon Gilbertson: It's upsetting looking. That's such a weird.
• 2:01:52
  Tad Eggleston: It is.
• 2:01:54
  Peter Eggleston Connor: It is so authentic, but it's actually, like, it turns out to be so fucking cool, too.
• 2:02:00
  Peter Eggleston Connor: That thing is a horror, but then it's like, oh, it's a horror that literally traps these dudes who are, like, trying to seal other people's bodies.
• 2:02:09
  Tad Eggleston: Right.
• 2:02:12
  Peter Eggleston Connor: Like, oh, that's fucking awesome.
• 2:02:14
  Tad Eggleston: I feel like we've done Going to Pieces before, too.
• 2:02:18
  Peter Eggleston Connor: we have…
• 2:02:19
  Dillon Gilbertson: There you go.
• 2:02:20
  Peter Eggleston Connor: to pieces we've…
• 2:02:22
  Tad Eggleston: But I have to call out how much I love, love this panel.
• 2:02:28
  Dillon Gilbertson: I do recall that…
• 2:02:29
  Tad Eggleston: a year.
• 2:02:29
  Peter Eggleston Connor: Or, by.
• 2:02:30
  Tad Eggleston: Yeah, we're.
• 2:02:31
  Peter Eggleston Connor: You're the capital.
• 2:02:31
  Tad Eggleston: Stay underneath.
• 2:02:32
  Peter Eggleston Connor: I don't, I'm just…
• 2:02:33
  Tad Eggleston: Yeah.
• 2:02:35
  Peter Eggleston Connor: Yeah, they do some really interesting stuff with it. And then.
• 2:02:39
  Tad Eggleston: And this was a… actually, this was another one where… where the forging the metal… going for…
• 2:02:45
  Tad Eggleston: to pieces originally, La Da Bandide.
• 2:02:49
  Tad Eggleston: appeared in Metal Erland in November 1977. Francois Schweiten was only 21 and still a student at Institut Saint-Luc in Brussels. He had already been published as a teenager in the Belgian edition of Pilot.
• 2:03:05
  Tad Eggleston: And earlier that same year had made his Metal Ehrlant debut with Carapaces, the story later printed… reprinted for the U.S. relaunch
• 2:03:14
  Tad Eggleston: In Issue 1. Luke, an architect like their father.
• 2:03:19
  Tad Eggleston: was not a scriptwriter in the conventional sense. The brothers proposed images, desires, and directions together. Then Francois translated the material into pages. Like a game, they imposed a different formal constraint on each short story.
• 2:03:37
  Tad Eggleston: This one was painted entirely in acrylic.
• 2:03:40
  Tad Eggleston: with panels drawn separately, pasted together, and assembled into pages. You can feel that method and what you've just read, a cyclist.
• 2:03:49
  Tad Eggleston: Crosses, sky, trees, city, interior space, and impossible perspective, as if gravity or a local custom rather than a law.
• 2:03:58
  Tad Eggleston: Schweiten later called the story a true surrealist adventure, and perhaps his most Belgian work, connected to the culture of the fantastic
• 2:04:08
  Tad Eggleston: Running through Paul Del Vlong, Renee McGrit, Leon Spillert, and Thomas Owen.
• 2:04:14
  Tad Eggleston: is also pure metal or lot. Formal risk used not to show off, but to discover what kind of locomotion the page can survive.
• 2:04:24
  Tad Eggleston: That's… That's one of the places where the description is just really good.
• 2:04:30
  Peter Eggleston Connor: Sure.
• 2:04:30
  Tad Eggleston: And kind of amazing that, like, the way they wrote it was…
• 2:04:34
  Tad Eggleston: To just come up with ideas, and like… Play a game together.
• 2:04:41
  Tad Eggleston: A letter to L.
• 2:04:43
  Peter Eggleston Connor: The final one!
• 2:04:45
  Matt: We made it!
• 2:04:47
  Peter Eggleston Connor: We might not!
• 2:04:48
  Tad Eggleston: This is…
• 2:04:52
  Peter Eggleston Connor: Got some fantastic imagery!
• 2:04:54
  Dillon Gilbertson: Yeah, they are.
• 2:04:54
  Tad Eggleston: Fantastic imagery.
• 2:04:56
  Dillon Gilbertson: Yeah, look at that.
• 2:04:57
  Peter Eggleston Connor: what the fuck is going on in it again? I feel like.
• 2:04:59
  Tad Eggleston: Well…
• 2:04:59
  Peter Eggleston Connor: like, the second half of this magazine, and I was reading it, but I was not consuming it.
• 2:05:07
  Tad Eggleston: I mean, I feel like it's… it's… an older couple…
• 2:05:14
  Tad Eggleston: Looking back at their younger life together?
• 2:05:17
  Peter Eggleston Connor: There you go.
• 2:05:20
  Tad Eggleston: It's got a little bit of a dementia feel.
• 2:05:25
  Peter Eggleston Connor: Like, fuck.
• 2:05:30
  Tad Eggleston: You know…
• 2:05:31
  Peter Eggleston Connor: Red guy in the middle here.
• 2:05:34
  Peter Eggleston Connor: Right there.
• 2:05:36
  Peter Eggleston Connor: And some beat-up guy.
• 2:05:38
  Peter Eggleston Connor: At least he looks dead.
• 2:05:41
  Peter Eggleston Connor: With a knife in him like that, I'd be surprised if he wasn't.
• 2:05:45
  Tad Eggleston: Res… oh, yeah.
• 2:05:53
  Peter Eggleston Connor: Oh, that's right, they were laughing about the stains on the carpet. It's probably, like, something they imagined. Like, why is that scene there? Oh, somebody got stabbed there, that's why.
• 2:06:04
  Tad Eggleston: I remember we laughed a lot, it was too hot, we were too in love.
• 2:06:08
  Tad Eggleston: Everything was cool, everything was okay, lazing around, watching those horrible TV shows, eating that awful food. So how is it? It's disgusting, haha.
• 2:06:19
  Tad Eggleston: I was always sick afterwards, but it was fun anyway.
• 2:06:23
  Tad Eggleston: The stains in the carpet, we prefer to laugh about that, too.
• 2:06:28
  Tad Eggleston: Just one night, rather than wondering where we'd sleep.
• 2:06:33
  Tad Eggleston: So yeah, there… there were… or she's… I think she's telling him the story…
• 2:06:43
  Tad Eggleston: And he is, like, at least part of it.
• 2:06:47
  Tad Eggleston: But again, it feels like he's got…
• 2:06:55
  Tad Eggleston: something… Feels like he's not all there anymore.
• 2:06:59
  Peter Eggleston Connor: Sure.
• 2:07:00
  Tad Eggleston: But they're… but they're imagining this… this long-ago…
• 2:07:05
  Tad Eggleston: Road trip they took together in a hot… non-AC car to make… Some sort of movie.
• 2:07:20
  Peter Eggleston Connor: Yep.
• 2:07:29
  Tad Eggleston: She remembered his favorite jam.
• 2:07:39
  Peter Eggleston Connor: And then that's the end of it!
• 2:07:41
  Tad Eggleston: And that's the end.
• 2:07:44
  Tad Eggleston: Though we've got our, our, our spider guy, Otto.
• 2:07:48
  Dillon Gilbertson: Weird. Okay.
• 2:07:49
  Tad Eggleston: Ben.
• 2:07:50
  Dillon Gilbertson: Oh, auto.
• 2:07:51
  Peter Eggleston Connor: Auto.
• 2:07:53
  Tad Eggleston: Reading metal Erlant is dangerous. Rapid mind expansion, disconcerting but thrilling thoughts and visions. Sudden onset of dissatisfaction with daily life.
• 2:08:06
  Tad Eggleston: So, alrighty.
• 2:08:09
  Tad Eggleston: Let's hit it.
• 2:08:11
  Tad Eggleston: Mattel Erlot, Doesn't have ongoing, so we'll go straight to… Favorite story?
• 2:08:25
  Peter Eggleston Connor: There were a lot of good ones.
• 2:08:27
  Matt: Yeah, they're.
• 2:08:27
  Tad Eggleston: There's so many good ones.
• 2:08:29
  Tad Eggleston: So many good ones.
• 2:08:32
  Peter Eggleston Connor: Hold that one.
• 2:08:33
  Matt: I'm going with the one where the video game removed the tumor.
• 2:08:37
  Tad Eggleston: So that was…
• 2:08:45
  Tad Eggleston: There's the… checkout?
• 2:08:48
  Matt: Yes, I think it was checkout.
• 2:09:05
  Tad Eggleston: Peter Dillon?
• 2:09:07
  Peter Eggleston Connor: I think I'm gonna go way back to the beginning. There are a lot of good ones, but I'm gonna go back to the Grand Tour.
• 2:09:18
  Peter Eggleston Connor: Where we got started.
• 2:09:20
  Peter Eggleston Connor: Wakes up with the toy boat, and… Goes around with the Muppet.
• 2:09:25
  Tad Eggleston: Also a good one.
• 2:09:27
  Peter Eggleston Connor: Yep.
• 2:09:29
  Dillon Gilbertson: I don't know to choose, Last Stop, or Hotel Tartarus, or…
• 2:09:36
  Dillon Gilbertson: I can't remember the name of it now. The robot assassin one.
• 2:09:43
  Peter Eggleston Connor: a good one, you know?
• 2:09:45
  Tad Eggleston: Okay, so, so… Last stop… Which was the other one?
• 2:09:54
  Dillon Gilbertson: Hotel Tartarus, or Tartar… Tartarus Hotel.
• 2:09:57
  Dillon Gilbertson: Or… What was the robot assassin one? What was that?
• 2:10:03
  Tad Eggleston: Was that… Was that Salted Souls?
• 2:10:09
  Tad Eggleston: Herb.
• 2:10:10
  Peter Eggleston Connor: Here, give me a second, your girlfriend.
• 2:10:12
  Tad Eggleston: Or was it Cornelius?
• 2:10:14
  Dillon Gilbertson: A sleepwalker. Sleepwalker.
• 2:10:16
  Tad Eggleston: Sleepwalker? Oh, that's right.
• 2:10:18
  Dillon Gilbertson: I'm gonna go with Sleepwalker.
• 2:10:19
  Peter Eggleston Connor: Fair.
• 2:10:20
  Tad Eggleston: You can go with Sleepwalker?
• 2:10:25
  Peter Eggleston Connor: Yeah, because she wasn't Half-Life 2.
• 2:10:29
  Tad Eggleston: Yeah, bye.
• 2:10:32
  Tad Eggleston: I mean, all of these are great, but I think I'm gonna go with the Honeymoon suite.
• 2:10:36
  Peter Eggleston Connor: I think I, changed mine to hand slide, actually.
• 2:10:38
  Matt: Dude, it was a tough call for me.
• 2:10:39
  Dillon Gilbertson: Yeah, there's a lot of really good ones in this one.
• 2:10:42
  Tad Eggleston: So you're going from the Grand Tour to Half-Life?
• 2:10:46
  Peter Eggleston Connor: Going back to… I'm fine.
• 2:10:48
  Dillon Gilbertson: I'm definitely choosing a panel with the little Muppet… the Muppet shipmate dude from… From Grand Tour, though.
• 2:10:59
  Peter Eggleston Connor: the app.
• 2:11:00
  Dillon Gilbertson: Just love that little guy.
• 2:11:04
  Tad Eggleston: Okay, which one?
• 2:11:06
  Dillon Gilbertson: I think, let's see… Page 7.
• 2:11:11
  Dillon Gilbertson: Panel 3.
• 2:11:13
  Dillon Gilbertson: Where the Muppet dude is looking up at him, and he's saying, get the boat ready, we need to find a priest.
• 2:11:19
  Tad Eggleston: Okay.
• 2:11:20
  Dillon Gilbertson: Oh, man, but the panel right after that, though, is really good, with the skeleton fish in the sky. God, they're so good.
• 2:11:26
  Tad Eggleston: Yeah.
• 2:11:28
  Dillon Gilbertson: Yeah, I'm gonna go… I'm gonna go with Panel… Panel 3 there. Get the boat ready, we need to find a priest.
• 2:11:46
  Peter Eggleston Connor: Such a good panel, and I really love that guy. It would be that guy.
• 2:11:53
  Tad Eggleston: Yeah, there's so much to choose from in this one.
• 2:11:57
  Peter Eggleston Connor: I have my panel, if you're ready.
• 2:12:00
  Tad Eggleston: Yeah.
• 2:12:00
  Peter Eggleston Connor: on page… I think it's 132 in the, viewer, I don't know, let me see if I can find the actual page number. It's a little hard, because…
• 2:12:11
  Peter Eggleston Connor: It's a little… it's… 32, 31… it's actually 1.30.
• 2:12:19
  Peter Eggleston Connor: What's the actual page?
• 2:12:27
  Dillon Gilbertson: The crackler?
• 2:12:28
  Peter Eggleston Connor: stage right there, crack.
• 2:12:30
  Dillon Gilbertson: You know.
• 2:12:31
  Peter Eggleston Connor: Crack is… crack is my favorite pen.
• 2:12:33
  Dillon Gilbertson: It's a good one.
• 2:12:36
  Peter Eggleston Connor: There's no K, by the way, to our listeners.
• 2:12:38
  Dillon Gilbertson: Right.
• 2:12:39
  Tad Eggleston: Yep.
• 2:12:39
  Dillon Gilbertson: crack with a hard C.
• 2:12:41
  Peter Eggleston Connor: practice a hard C.
• 2:12:47
  Matt: I can't just say crack with no K.
• 2:12:50
  Dillon Gilbertson: No.
• 2:12:55
  Peter Eggleston Connor: Why, do you want some crack with a hard K, Matt?
• 2:12:59
  Matt: Special K.
• 2:13:00
  Dillon Gilbertson: I like to focus on what is and not what isn't, you know what I mean?
• 2:13:03
  Matt: Fair enough.
• 2:13:05
  Peter Eggleston Connor: I don't know what you're talking about.
• 2:13:11
  Peter Eggleston Connor: Man, have you figured out your favorite panel yet?
• 2:13:13
  Matt: Yeah, top panel on page 267.
• 2:13:18
  Matt: And that's based on the pages on the book.
• 2:13:25
  Dillon Gilbertson: 67…
• 2:13:27
  Matt: It reminds me of the dumpster fire meme… meme… no, the dog at the bar. I'm fine.
• 2:13:32
  Peter Eggleston Connor: This is fun.
• 2:13:33
  Matt: mine.
• 2:13:33
  Dillon Gilbertson: Not sure, yeah.
• 2:13:34
  Peter Eggleston Connor: Yeah, yep, I can definitely see that.
• 2:13:39
  Matt: There it is! Copy.
• 2:13:40
  Tad Eggleston: Panel?
• 2:13:41
  Matt: Yup.
• 2:13:47
  Dillon Gilbertson: Looks really… it's a really good… It's a really good panel.
• 2:13:50
  Peter Eggleston Connor: We're running good power.
• 2:13:58
  Tad Eggleston: Trying to remember… when I was reading, there was definitely… Something like that.
• 2:14:05
  Peter Eggleston Connor: out there.
• 2:14:07
  Tad Eggleston: Right, I mean, there were a number of things that stood out to me, but there's a story…
• 2:14:11
  Tad Eggleston: That stood out to me.
• 2:14:14
  Tad Eggleston: because I felt like it had a lot of fascinating angles in it.
• 2:14:18
  Tad Eggleston: And I'm trying to remember which one it was.
• 2:14:21
  Peter Eggleston Connor: And I'm not always as interested in that… and it's probably not the one you're thinking about, but that…
• 2:14:27
  Peter Eggleston Connor: The, the one that had, like, really fascinating yields to me was actually the…
• 2:14:33
  Peter Eggleston Connor: We kind of skipped over it… well, not skipped over it, but we talked about it a little bit with the… that, like, life one.
• 2:14:42
  Peter Eggleston Connor: I don't know if that's the one you're thinking of. It could also be that you're talking about, this one right here. I don't know if that.
• 2:14:48
  Tad Eggleston: No, because it was color.
• 2:14:50
  Peter Eggleston Connor: Okay, so let me find the one I'm thinking of.
• 2:14:54
  Peter Eggleston Connor: You might not be thinking about one, though, too. It's not…
• 2:14:58
  Peter Eggleston Connor: The room, that has some interesting angles, but maybe not… or, sorry, Weekend Getaways, that's what that's called.
• 2:15:07
  Peter Eggleston Connor: The one before.
• 2:15:07
  Tad Eggleston: Yeah.
• 2:15:08
  Peter Eggleston Connor: Interesting angles, too, but it's more…
• 2:15:13
  Peter Eggleston Connor: I don't know if those are actually interesting angles so much as just interesting…
• 2:15:17
  Peter Eggleston Connor: visuals. This was the one I was thinking of.
• 2:15:20
  Tad Eggleston: Definitely.
• 2:15:22
  Tad Eggleston: No, no, it was a… it was a full color, and… and what I remember in particular is… is that, like.
• 2:15:30
  Tad Eggleston: There's kind of a mixture of high and low angles.
• 2:15:34
  Tad Eggleston: And just, again, an impressive decision-making.
• 2:15:39
  Tad Eggleston: To, to tell the story.
• 2:15:42
  Peter Eggleston Connor: Hmm.
• 2:15:43
  Tad Eggleston: Trying to remember which one it was, of course.
• 2:15:46
  Tad Eggleston: I wasn't smart enough to bring my hard copy upstairs, and now the pages are wanting to load slowly, because I'm moving so fast.
• 2:15:54
  Peter Eggleston Connor: Yeah, honestly, I'm scrolling through, and luckily my page aren't There's,
• 2:16:01
  Peter Eggleston Connor: Let's see if I can find anything… that doesn't look like it. High and low angles.
• 2:16:10
  Peter Eggleston Connor: I mean, the Half-Life has some high-ish and low-ish angles.
• 2:16:19
  Tad Eggleston: Yeah, that's definitely…
• 2:16:23
  Peter Eggleston Connor: Also… Our… Little man of Prague.
• 2:16:30
  Tad Eggleston: That was… that was where I was headed right now, because I am such a…
• 2:16:35
  Tad Eggleston: fan overall of Miguel's work.
• 2:16:44
  Peter Eggleston Connor: I mean, my title doesn't…
• 2:16:50
  Peter Eggleston Connor: Doesn't really feel like it's high anymore.
• 2:16:53
  Peter Eggleston Connor: Not Runway Stars.
• 2:17:04
  Tad Eggleston: And yeah… I love a lot of the page design here, but I don't think…
• 2:17:09
  Peter Eggleston Connor: What you're thinking of?
• 2:17:10
  Tad Eggleston: I think that one was the one I was thinking of.
• 2:17:17
  Tad Eggleston: life similar. I love the page design, but I don't…
• 2:17:27
  Tad Eggleston: this…
• 2:17:33
  Peter Eggleston Connor: Was it the spider one?
• 2:17:36
  Tad Eggleston: I mean, that had some great stuff, but I didn't read that today, and it was something that I read today.
• 2:17:41
  Peter Eggleston Connor: Oh, okay.
• 2:17:43
  Tad Eggleston: Might have been…
• 2:17:46
  Peter Eggleston Connor: Yeah, I don't know what genre.
• 2:17:50
  Dillon Gilbertson: It was the one that we'd read in a previous metal, heavy metal, with the… with the up… with the bottom… bottom-up cafe, outdoor cafe.
• 2:17:58
  Tad Eggleston: I mean, again, that was great, but no.
• 2:18:01
  Peter Eggleston Connor: Danny.
• 2:18:02
  Tad Eggleston: Very deliberately decided not.
• 2:18:03
  Peter Eggleston Connor: for a minute.
• 2:18:05
  Tad Eggleston: Well, I read that today, too.
• 2:18:07
  Peter Eggleston Connor: Oh, yeah.
• 2:18:07
  Tad Eggleston: very deliberately decide… I read everything from the one with the dildo gun today.
• 2:18:13
  Peter Eggleston Connor: Oh.
• 2:18:15
  Peter Eggleston Connor: I thought he was saying in a previous… oh, that… that bit wasn't a previous… okay. I get it now.
• 2:18:27
  Peter Eggleston Connor: Fair, it's not the last one.
• 2:18:34
  Tad Eggleston: The last story? I'm not certain that it's not the last story.
• 2:18:39
  Tad Eggleston: No.
• 2:18:42
  Peter Eggleston Connor: The last story definitely feels like it has a lot of different things.
• 2:18:46
  Tad Eggleston: But I think what I'm gonna go with is I'm gonna…
• 2:18:50
  Tad Eggleston: Because this one also struck me a lot. We're gonna go with that middle panel that I gushed about in…
• 2:18:57
  Matt: Yup, with the guitar strings, yeah.
• 2:18:59
  Tad Eggleston: Right, and the tea house of the three strings.
• 2:19:03
  Peter Eggleston Connor: That makes sense.
• 2:19:04
  Peter Eggleston Connor: The Three Strings panel in the Tea House of the Three Strings.
• 2:19:08
  Tad Eggleston: Right.
• 2:19:11
  Peter Eggleston Connor: Alrighty.
• 2:19:13
  Tad Eggleston: Yeah.
• 2:19:17
  Tad Eggleston: I mean, this page works really well, but that… that middle panel…
• 2:19:26
  Tad Eggleston: really… It really stands out to me.
• 2:19:31
  Tad Eggleston: So, matt?
• 2:19:34
  Tad Eggleston: You wanna do the honors?
• 2:19:36
  Matt: We'll continue after the next page.