Bonus Episode: 22 Panels Book Club - Love and Rockets: 10 years of Love and Rockets

Maria, Marisol, and Tad discuss 10 Years of Love and Rockets.

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Transcript

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Instead.

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Tad Eggleston: Good afternoon, everybody.

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Tad Eggleston: Welcome back to 22 panels and the Love and Markets Book Club.

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Tad Eggleston: I've got Maria. I've got Marisol. We're going over the 10 years

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Tad Eggleston: of loving rockets.

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Tad Eggleston: special. That came out in 1992

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Tad Eggleston: with some complete stories, with some some background

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Tad Eggleston: information on how everybody works.

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Tad Eggleston: you know. Cool stuff.

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Tad Eggleston: So 1st of all, how's everybody doing

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Marisol: All right.

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Maria Pena: Alright glad that I'm in Australia, not the Us.

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Tad Eggleston: Yeah, yeah.

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Maria Pena: Yeah.

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Marisol: Doing all right, given the circumstances.

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Tad Eggleston: We were commenting off air that we're we're kinda we're kinda jealous of Maria's dual.

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Maria Pena: Australia.

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Tad Eggleston: Maltese citizenship.

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Maria Pena: Yes.

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Tad Eggleston: So, yeah.

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Tad Eggleston: so where do we want to start with this one? This one's.

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Tad Eggleston: it's kind of different. It's got some short stories that are really cool.

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Tad Eggleston: I.

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Maria Pena: It's okay.

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Tad Eggleston: Having the timeline.

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Maria Pena: Yeah.

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Marisol: Yeah, I.

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Maria Pena: Yeah.

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Marisol: That one. I couldn't zoom in far enough to read that. Yeah.

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Tad Eggleston: No, I understand. I understand. Well, I think it was a fold out thing in in the actual issue. So it's like, it's like 3 pages wide. Yeah, look at that, Maria.

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Maria Pena: This there, there and then?

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Maria Pena: and then it goes there. Okay.

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Marisol: Okay.

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Tad Eggleston: Okay.

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Maria Pena: Yeah. And then there's the book index, which you know is another tiny, tiny type kind of stuff which, if you're reading a scan, I doubt that you could read very well. Yeah. But the all, all that book index is now so dated because even the books that I have, which is.

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Maria Pena: you know, loving rockets. Book one. Loving rockets. Book 3. They came out.

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Maria Pena: I don't know. Around. Must have been around 1980.

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Maria Pena: Yeah, I don't know.

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Tad Eggleston: 84.

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Maria Pena: And 5,

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Maria Pena: yeah. And and because I I when I started reading at around the

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Maria Pena: the 1st issue, I saw that I loved the cover and I went. Oh, what's that? Was issue 15. And then I went back and I got down to 11, and then I couldn't get anything earlier than that. So I went and bought the books.

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Maria Pena: But around issue 15. I don't know when that when that was that was quite early in the piece. And yeah.

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Maria Pena: So those books that I have are the very first, st probably trades that they did.

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Maria Pena: So the even the books that are listed here.

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Maria Pena: They're not the ones I have, because it's not music for mechanics. And Yada Yada Yada. They were just straight, just reprints of the issues

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Maria Pena: right? Including the covers.

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Maria Pena: So each issue

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Maria Pena: reprinted with the cover and the back cover.

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Maria Pena: and one after the other in those books. So it had. It was exactly as if you were reading the the issues, it wasn't all collected into

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Maria Pena: into Hymen better. And so on. Yeah.

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Tad Eggleston: Before they started, adding supplemental material, too, because.

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Maria Pena: Yes.

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Tad Eggleston: Started doing them by storyline. They also started adding pages.

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Maria Pena: Times, change.

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Tad Eggleston: Panels.

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Maria Pena: Yeah.

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Maria Pena: I know. And it feels like, if you want to have the ultimate collection, you have to spend a lot of money to get it all, get every little bit of a.

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Tad Eggleston: I have been slowly chipping away at it.

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Maria Pena: So this 1st story that you're showing us here the space case. We read it last week.

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Tad Eggleston: Literally in bonanza.

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Maria Pena: Yeah, it was.

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Marisol: It's because.

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Maria Pena: I read that? That's right. What's this.

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Tad Eggleston: 2 episodes in a row.

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Maria Pena: Yeah.

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Marisol: But it's such a cute little story, though.

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Tad Eggleston: It is, and I love Theo in this 1st

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Tad Eggleston: in this 1st panel.

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Maria Pena: Yeah.

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Marisol: he's trying to see where this guy is.

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Tad Eggleston: Trying to see the top of the sky.

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Maria Pena: And anything.

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Tad Eggleston: No top of the.

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Maria Pena: Glasses are.

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Tad Eggleston: My ball.

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Tad Eggleston: bounce off of it.

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Maria Pena: And then his eyes are all fucked up because he's taking looking at the Saudi lady.

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Marisol: She's staring into the sun.

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Tad Eggleston: I also, I commented last time. But I love this with the

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Tad Eggleston: with the Hi, mom, where's Ophelia? I got to ask her something serious. Well, ask me, maybe I can set things straight. Well, does this guy really go on forever? And if it does, where is that? And how come not all stars fall, and how come? The moon comes out in the day sometimes

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Tad Eggleston: ask a few. She was asking.

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Maria Pena: Those questions, too much. Yeah.

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Marisol: I love that. The the 3 middle panels right there. Yeah, yeah.

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Maria Pena: Yeah, it's great.

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Maria Pena: Phelia is a brainiac.

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Tad Eggleston: Yeah, I love this, this her smile on this

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Tad Eggleston: 1st page.

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Maria Pena: Yes.

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Tad Eggleston: When she's remembering dwarf Nebulas might be the happiest I've ever seen. Ophelia.

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Marisol: Yeah, usually she's got a very like neutral expression, or even sometimes like a frown.

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Tad Eggleston: Yeah. Neutral to dower is is her.

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Maria Pena: Well, cause she's in pain. She's always in pain. Yeah.

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Marisol: That's true. She's in chronic pain.

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Tad Eggleston: Chronic pain, and and she's lived a tough life. I mean, that chronic pain didn't come.

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Maria Pena: And she has to rein in Luba all the time.

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Tad Eggleston: Rein in Luba and raise the kids.

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Marisol: Yeah.

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Maria Pena: That would be grumpy, too.

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Marisol: Right.

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Tad Eggleston: Yeah, yeah.

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Tad Eggleston: So I mean, that's what makes it doubly nice to see this.

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Marisol: All, from.

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Tad Eggleston: This rare smile from her.

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Marisol: Yeah.

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Tad Eggleston: I think I think I forgot it last issue, so it might. It might be my favorite favorite Gilbert Panel. This issue, just because, you know.

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Tad Eggleston: smiling. Ophelia. Yeah.

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Maria Pena: Yeah.

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Tad Eggleston: Though I do like.

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Maria Pena: Saturday night. Yeah.

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Maria Pena: We're both with. Sorry, Sarah. Nice.

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Tad Eggleston: Starry starry night.

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Maria Pena: Yes, indeed!

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Tad Eggleston: I do love this, the the 10 years already.

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Tad Eggleston: Yeah.

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Maria Pena: All breaking.

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Tad Eggleston: Economics.

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Maria Pena: Yeah.

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Tad Eggleston: Where essentially they're they're they're like ripping into all of the letters.

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Maria Pena: Yeah.

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Tad Eggleston: They're taking on all of the all of all of the

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Tad Eggleston: all of the criticism in one page, even when it goes.

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Maria Pena: Yes.

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Maria Pena: should do something for Marvel or DC. Just to get your foot in the door. They must have hated that.

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Maria Pena: But it was true, like, you know I have. I had a friend like at the bottom second last frame. I never thought I'd ever fall in love with a comic book character. One of my friends was totally in love with Hopi. Yeah.

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Marisol: Yeah.

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Maria Pena: And

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Marisol: Very lovable character, albeit a menace, but.

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Maria Pena: Oh, she was so cute with her spiky hair, you know, so.

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Tad Eggleston: Yeah.

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Maria Pena: Yeah. So everybody's like, Oh, I know she's just a comic book character, but.

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Tad Eggleston: But another, another, 1 1 page, heartbreak, soup.

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Maria Pena: Yes.

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Tad Eggleston: I love. How struck he is when he calls her by her and his name rather than Hercules.

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Maria Pena: Yes! Oh.

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Marisol: Yeah. I was a little confused.

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Maria Pena: She does know my name.

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Marisol: Why, why or when she started

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Marisol: calling him Hercules, and instead of Rak Leo.

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Maria Pena: Oh, when when he was a kid, I think.

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Tad Eggleston: Yeah, I, think it.

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Maria Pena: She seduced him.

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Tad Eggleston: I think it was her way of making him feel bigger.

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Tad Eggleston: so like when when he she suddenly calls him Heraclio. He's like, Oh.

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Tad Eggleston: I'm normal now.

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Marisol: Yeah.

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Maria Pena: Yeah, right, right.

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Marisol: He's not little Hercules anymore.

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Maria Pena: It. Yeah, I guess I guess it's more like, you know, we're we're on the even ground now, sort of thing as well. Maybe.

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Maria Pena: like she's not.

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Tad Eggleston: Well, i i i think that that there's an element of like she's jealous of his boys.

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Tad Eggleston: and like the fact that he's here.

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Tad Eggleston: it, like

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Tad Eggleston: all Lovey Dovey with her her. What 7th girl is making her go?

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Tad Eggleston: Yeah.

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Maria Pena: You know?

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Maria Pena: Yeah.

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Marisol: She is.

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Tad Eggleston: You know. Got a a little old school patriarchal. I need boys type thing going on.

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Maria Pena: Oh!

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Marisol: -

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Tad Eggleston: Then we only have the.

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Marisol: One son, who, I forget what happened to him. He was taken away right.

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Tad Eggleston: Well, supposedly he died. But there's there's.

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Marisol: You know, if that's.

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Tad Eggleston: Commented on

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Tad Eggleston: earlier. Right there there is a scene.

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Marisol: Yes, it seems.

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Tad Eggleston: Imply that the baby's actually being taken away, not.

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Maria Pena: He was.

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Tad Eggleston: Boldy died.

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Maria Pena: Yeah, that's right.

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Tad Eggleston: But but but there's definitely the possibility that that he didn't die. He was.

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Maria Pena: Just a

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Maria Pena: to another family kind of thing.

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Tad Eggleston: Isn't something that I think has been

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Tad Eggleston: resolved yet.

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Marisol: I don't think.

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Maria Pena: Hmm.

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Marisol: There, I just know, like, when we were seeing a lot of Buba's backstory, we were shown a couple of panels where

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Marisol: they were telling her, and well, whatever her husband's name was, I forget his name.

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Tad Eggleston: Commo.

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Marisol: A baby! Huh!

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Tad Eggleston: Or no, her husband at the time.

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Tad Eggleston: Peter.

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Maria Pena: Later, yeah.

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Marisol: They were telling them that the baby didn't make it, but we were seeing

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Marisol: It wasn't.

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Marisol: It wasn't Gorgo. It was other other Peter's people.

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Marisol: or somebody who worked for his father.

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Marisol: taking the baby away.

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Maria Pena: Hmm.

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Maria Pena: yep.

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Maria Pena: so they might have. He might. The baby might have ended up in a I would imagine, in a very powerful family somewhere.

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Tad Eggleston: That's it.

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Maria Pena: That's very, you know. Maybe a hint of in in Argentina when the dictatorship was happening.

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Maria Pena: A lot of

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Maria Pena: people's children up

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Maria Pena: like people who were against the government. They got killed or disappeared well, which means killed.

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Maria Pena: and then their children were adopted by military families and grew up.

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Marisol: Ease.

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Maria Pena: With the enemy. So

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Maria Pena: yeah. So it's a very it's like kind of a theme that you know.

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Marisol: Kind of reminiscent of that.

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Maria Pena: Yeah.

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Tad Eggleston: So.

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Maria Pena: So at the draw.

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Tad Eggleston: We get into the drawing board. Yeah, I want, I want the artists take on this.

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Maria Pena: Oh!

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Tad Eggleston: Yeah.

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Marisol: Yes.

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Maria Pena: Well, I don't.

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Marisol: Bunch of like tools.

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Tad Eggleston: I love. I love the process stuff.

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Marisol: We're seeing how the page.

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Tad Eggleston: Comes together.

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Marisol: You're with.

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Marisol: I love that. He.

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Maria Pena: Included. You know, it's almost like a precursor of Instagram where you see people doing, you know.

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Maria Pena: to process on their videos, you know. So he took the

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Maria Pena: it's great that he took pictures or scanned, or whatever the art, in different stages.

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Maria Pena: And he explains how you know how he makes decisions and changes dialogue and

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Maria Pena: and

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Maria Pena: and then how he puts the blacks at the end, the blacks with the background to balance things out. And yeah, no, it's really interesting, actually. And there is a Youtube video. There's these guys I can't remember who they were. Unfortunately, sorry I'm not being.

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Tad Eggleston: Informative. I think it was a cartoonist. Kayfabe

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Tad Eggleston: did it.

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Maria Pena: You're okay.

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Tad Eggleston: And and Ed. Pisgar.

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Maria Pena: Okay, I'm not sure. But I I watched it a few months ago. And

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Maria Pena: and I was like, I think I have that issue. And I went and looked it up because I had forgotten all about it. And yeah. And they were, they actually dissect everything which is great. Yeah.

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Maria Pena: I love that sometimes. He.

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Maria Pena: The interesting thing is that Jaime

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Maria Pena: says that he writes the

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Maria Pena: he basically develops a story

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Maria Pena: panel by like he just does panels, and then sometimes, but he has to finish.

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Maria Pena: Obviously each page has to finish

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Maria Pena: at a particular point in the story, so that it makes you want to turn the page, and sometimes he leaves

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Maria Pena: panels where he just thinks, well.

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Maria Pena: I have to just

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Maria Pena: fill something in here, and that's why I remember last a few issues ago.

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Maria Pena: there was a panel drawn by Gilbert in one of the stories, because

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Maria Pena: Jaime needed to end in a particular at a particular moment. There was nothing else to say in Jaime's story, and he just left it blank.

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Maria Pena: and it looked like Gilbert had he had gone up. Can you just throw something in? There was someone doing some graffiti on a wall or something? I can't remember. But yeah, it's great. It's really interesting

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Maria Pena: how he just

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Maria Pena: it's very organic.

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Maria Pena: and yet it looks completely planned.

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Maria Pena: Cause. He's a genius.

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Tad Eggleston: Yeah.

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Marisol: This is awesome to read, too, if someone not too familiar with like

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Marisol: this kind of process, because, you know, they were talking about some materials and tools that I have no idea what this is. I just know paper pencil. I don't know the different kinds of paper or the different weights of paper.

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Maria Pena: Yeah, that's right. He talks about

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Marisol: Yeah.

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Maria Pena: The paper, Bristol.

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Marisol: Smoother paper, or the rougher paper.

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Maria Pena: No, it's either.

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Tad Eggleston: True.

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Maria Pena: So that it's easy to ink. Yeah.

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Tad Eggleston: Was was the guy that talked about the love and rockets 10 years a cartoon himself.

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Maria Pena: A cartoon himself. No.

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Tad Eggleston: Okay.

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Tad Eggleston: I'm just. I'm just looking for the video, because, like, that's how I am.

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Tad Eggleston: But.

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Maria Pena: Yeah.

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Tad Eggleston: But I just.

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Maria Pena: I. Just

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Maria Pena: yeah, if you kind of I can't remember how.

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Tad Eggleston: 1, 1.

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Maria Pena: Found it?

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Maria Pena: Yeah.

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Tad Eggleston: Let me let me change my share. Really quick, because this is this is kind of crazy.

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Maria Pena: Yeah.

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Maria Pena: it's great that they did that because I came across this.

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Tad Eggleston: One.

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Tad Eggleston: but you'd.

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Maria Pena: Remember, if.

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Tad Eggleston: The, the.

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Maria Pena: Yeah, no, no, I wasn't.

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Maria Pena: No, it was real people.

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Maria Pena: It was 2 guys.

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Maria Pena: It wasn't him.

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Tad Eggleston: Makes me.

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Maria Pena: It. It was.

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Maria Pena: yes. Sorry. Okay, we're not talking. I'll just

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Maria Pena: so what else can I say about this? Yeah. He talks about the fact that when he was the way he does perspective.

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Maria Pena: there was a

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Maria Pena: and

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Maria Pena: how his kids are

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Maria Pena: need the cartoony, the cartoony? Look.

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Maria Pena: currently, yeah.

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Maria Pena: because they have that energy.

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Tad Eggleston: And we've talked about it, too. He talks he talks about. The kids are somewhere between peanuts and.

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Maria Pena: Then it's the menace, and that he he can draw them with his.

293
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Maria Pena: you know, eyes closed now.

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Tad Eggleston: Right, which is.

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Maria Pena: School, which is.

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Maria Pena: you know, he's like.

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Maria Pena: yeah, he's got it down. Pat, basically, at this stage.

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Maria Pena: what else?

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Maria Pena: The fact that he draws his panels freehand.

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Maria Pena: Yeah.

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Marisol: Yeah, but if.

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Maria Pena: 3 straight lines. That's pretty good.

303
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Maria Pena: and I was like free and bad. My God!

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Maria Pena: I do love.

305
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Tad Eggleston: His kids.

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Tad Eggleston: We've said that so many times, but maintain it.

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Maria Pena: Well, he started with a lot. Yeah. Dialogue.

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Marisol: It just looks so perfect.

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Marisol: They're like

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Marisol: expressive

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Marisol: and

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Marisol: very exaggerated

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Marisol: emotions.

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Marisol: I love that

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Marisol: it it very much gives the feel of

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Marisol: these are a bunch of little kids doing little kids stuff in the neighborhood.

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Maria Pena: Yeah.

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Maria Pena: yeah.

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Marisol: Or even when they ask the most random questions.

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Marisol: I feel like, that's also a very little kid thing to do like when

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Marisol: they was asking

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Marisol: Luba about the sky, and why some stars don't fall. That yeah. Seeing that one again made me laugh. Because I'm like, Yeah, yeah, that's very much a little kid thing to ask.

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Marisol: or it's like, why, why is the sky blue? Why is the grass green? What is the air?

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Marisol: You know? They don't know these things. They're learning about the world, but it's it's a very

325
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Marisol: I don't know what

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Marisol: where it is for it, but it's like it's a very

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Marisol: open, and

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Marisol: I guess.

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Marisol: bluntly

330
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Marisol: curious attitude that a lot of his kids have.

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Maria Pena: Hmm, yeah.

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Marisol: Not only with like

333
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Marisol: what they're doing, but also

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Marisol: for their own little

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Marisol: stories and lives. What's going on with them?

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Marisol: And it's just it. It reminds me of like, you know myself being a little kid, and sometimes having questions like that, and

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Marisol: learning more about the world.

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Maria Pena: Hmm.

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Marisol: It's kind of nostalgic

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Marisol: to see to see them.

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Maria Pena: Yep.

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Maria Pena: totally

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Maria Pena: totally.

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Marisol: And as we're talking about their technique, and I've seen the differences in the panels here. And

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Marisol: also when we see that page of like

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Marisol: the Luba different ages.

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Marisol: seeing how much she's grown since we started reading love and rockets.

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Maria Pena: Hmm.

349
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Maria Pena: no, it's amazing how he keeps. They keep, you know, the characters

350
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Maria Pena: consistency. The consistency of the characters is just amazing to me.

351
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Marisol: Oh, yeah.

352
00:20:02.760 --> 00:20:03.280
Marisol: that's.

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Maria Pena: Well, you know, like in in their personality and and their looks, you know, like

354
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Maria Pena: it's it's really

355
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Maria Pena: crazy crazy.

356
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Maria Pena: Oh.

357
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Maria Pena: where where are we now? Locus.

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Tad Eggleston: Because champion.

359
00:20:22.840 --> 00:20:24.350
Maria Pena: Yeah, that's an early

360
00:20:24.840 --> 00:20:26.619
Maria Pena: what's that? That?

361
00:20:26.790 --> 00:20:30.940
Maria Pena: That's not a news. That's an old story from the very beginning. I think.

362
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Tad Eggleston: Is a poor.

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00:20:33.520 --> 00:20:34.530
Marisol: Yeah.

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00:20:35.110 --> 00:20:35.480
Maria Pena: Or is.

365
00:20:35.480 --> 00:20:41.779
Tad Eggleston: We had lots of locust, Mbn. But I feel like this might be one that got caught earlier.

366
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Maria Pena: They got, what.

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Tad Eggleston: Remember the grocery store scene before.

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Maria Pena: Right.

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00:20:48.410 --> 00:20:49.110
Marisol: Hmm.

370
00:20:50.260 --> 00:20:52.220
Maria Pena: It looks really early, though.

371
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Maria Pena: like.

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Tad Eggleston: Sure that it was drawn earlier. I just don't know if

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Tad Eggleston: published before this.

374
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Maria Pena: Oh, okay, okay, maybe. Yeah. Yeah, right?

375
00:21:02.110 --> 00:21:03.649
Maria Pena: It just kind of

376
00:21:04.270 --> 00:21:05.880
Maria Pena: she is 1983.

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Tad Eggleston: Rephrase. I remember

378
00:21:07.760 --> 00:21:10.149
Tad Eggleston: I remember the

379
00:21:10.730 --> 00:21:12.679
Tad Eggleston: the flower pot part.

380
00:21:12.840 --> 00:21:13.440
Tad Eggleston: but if.

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00:21:13.440 --> 00:21:14.030
Maria Pena: Yes.

382
00:21:14.030 --> 00:21:15.460
Tad Eggleston: Next page

383
00:21:17.200 --> 00:21:18.700
Tad Eggleston: might be.

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00:21:19.970 --> 00:21:21.380
Marisol: Like that might have been cut.

385
00:21:22.090 --> 00:21:24.619
Tad Eggleston: Something that was caught for different.

386
00:21:25.350 --> 00:21:27.980
Tad Eggleston: the whole going to the grocery store.

387
00:21:29.870 --> 00:21:32.900
Marisol: Yeah, cause I don't remember ever seeing Terry with that

388
00:21:33.070 --> 00:21:34.890
Marisol: hairstyle of events.

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00:21:34.890 --> 00:21:35.530
Tad Eggleston: Right.

390
00:21:35.940 --> 00:21:38.890
Marisol: When we've seen flashbacks of the whole crew.

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00:21:41.100 --> 00:21:44.070
Tad Eggleston: Remember this, this Choi, this short eagle.

392
00:21:44.160 --> 00:21:46.360
Tad Eggleston: Lachota versus Roy, cowboy.

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Maria Pena: Oh, yeah, they're not very yeah.

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00:21:52.320 --> 00:21:55.950
Maria Pena: They're not very memorable. Those little stories like.

395
00:21:58.390 --> 00:22:00.850
Tad Eggleston: But the the type of thing that I kind of noticed.

396
00:22:01.540 --> 00:22:02.550
Maria Pena: Yeah.

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00:22:04.417 --> 00:22:12.980
Maria Pena: I do remember that that last panel of Hopi. Looking at the camera, I remember that face. It was like a very iconic Hopi face to me.

398
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Tad Eggleston: I'm so.

399
00:22:13.430 --> 00:22:15.450
Maria Pena: But I might have read it here.

400
00:22:15.450 --> 00:22:18.449
Tad Eggleston: Yeah, I'm certain that some version of this has been told.

401
00:22:18.720 --> 00:22:23.250
Tad Eggleston: but I don't know if it's been this one, because I also don't remember

402
00:22:23.390 --> 00:22:24.470
Tad Eggleston: the

403
00:22:24.920 --> 00:22:27.040
Tad Eggleston: the 12 square panels.

404
00:22:28.850 --> 00:22:34.210
Tad Eggleston: I mean, I feel like he almost might have completely redone it in 9 panel pages.

405
00:22:35.000 --> 00:22:35.500
Maria Pena: Right.

406
00:22:35.500 --> 00:22:36.440
Tad Eggleston: That stuff.

407
00:22:37.240 --> 00:22:37.675
Maria Pena: Maybe.

408
00:22:39.080 --> 00:22:39.554
Tad Eggleston: Oh!

409
00:22:40.030 --> 00:22:40.919
Maria Pena: I loved it.

410
00:22:40.920 --> 00:22:41.959
Tad Eggleston: You know, research.

411
00:22:42.400 --> 00:22:43.265
Maria Pena: No.

412
00:22:44.130 --> 00:22:45.080
Marisol: Thank you.

413
00:22:47.370 --> 00:22:48.510
Marisol: Yeah. And maybe.

414
00:22:48.510 --> 00:22:54.860
Tad Eggleston: I mean, when we're done with everything we might have to go back and like, do the the dissection of.

415
00:22:55.730 --> 00:22:56.859
Maria Pena: Where did this come from?

416
00:22:56.860 --> 00:22:57.950
Tad Eggleston: We've got a long way.

417
00:22:57.950 --> 00:22:58.400
Marisol: Before.

418
00:22:58.400 --> 00:22:59.539
Tad Eggleston: Done with everything.

419
00:22:59.680 --> 00:23:03.629
Marisol: Oh, yeah, got a long ways to go, and

420
00:23:04.080 --> 00:23:09.369
Marisol: I feel like we've seen this this last story, too. Las Mongas Asinas.

421
00:23:10.640 --> 00:23:11.290
Maria Pena: Yeah.

422
00:23:11.290 --> 00:23:12.170
Marisol: Issue.

423
00:23:13.290 --> 00:23:15.150
Marisol: So I remember.

424
00:23:15.150 --> 00:23:17.150
Tad Eggleston: Story. After talking to Gilbert.

425
00:23:17.150 --> 00:23:20.580
Maria Pena: Yeah, that's when the yeah, yeah, that's when.

426
00:23:20.580 --> 00:23:21.340
Marisol: I remember, yeah.

427
00:23:21.340 --> 00:23:23.579
Tad Eggleston: So we've definitely seen

428
00:23:23.900 --> 00:23:32.050
Tad Eggleston: significant parts of this again, though I wonder because I think I would have noticed the sick or the 12 panels rather than

429
00:23:34.440 --> 00:23:35.740
Tad Eggleston: 9.

430
00:23:36.530 --> 00:23:37.310
Marisol: Right.

431
00:23:37.310 --> 00:23:38.000
Tad Eggleston: I want.

432
00:23:38.000 --> 00:23:39.159
Marisol: So used to 9.

433
00:23:39.160 --> 00:23:40.080
Tad Eggleston: And worked.

434
00:23:41.590 --> 00:23:44.020
Tad Eggleston: Wonder if he was playing with 12,

435
00:23:47.670 --> 00:23:48.739
Tad Eggleston: and decided to go.

436
00:23:48.740 --> 00:23:51.080
Maria Pena: Then it's got this space at the bottom.

437
00:23:51.080 --> 00:23:57.550
Tad Eggleston: Right? Well, almost almost also making me wonder, is this magazine size, or is this

438
00:23:58.170 --> 00:23:59.449
Tad Eggleston: comic size?

439
00:23:59.800 --> 00:24:00.800
Tad Eggleston: Oh, this is my.

440
00:24:00.800 --> 00:24:02.260
Maria Pena: Comic size. I think.

441
00:24:02.560 --> 00:24:03.300
Tad Eggleston: No, the one.

442
00:24:03.300 --> 00:24:03.710
Maria Pena: Any.

443
00:24:03.710 --> 00:24:04.849
Tad Eggleston: Have the original.

444
00:24:05.360 --> 00:24:06.189
Tad Eggleston: that you have the.

445
00:24:06.190 --> 00:24:07.500
Maria Pena: Comic size. It's.

446
00:24:07.500 --> 00:24:08.460
Tad Eggleston: So so

447
00:24:09.040 --> 00:24:11.440
Tad Eggleston: it, oh, okay, so it's smaller.

448
00:24:12.200 --> 00:24:12.750
Marisol: Oh!

449
00:24:12.750 --> 00:24:13.250
Maria Pena: It's smart.

450
00:24:13.250 --> 00:24:20.249
Tad Eggleston: So so that could be. It is because they're having to shrink the images. They have to add stuff at the bottom.

451
00:24:20.720 --> 00:24:24.830
Maria Pena: Yes, because I think they were drawing magazines. Yeah.

452
00:24:24.970 --> 00:24:25.730
Maria Pena: magazines.

453
00:24:25.730 --> 00:24:28.219
Tad Eggleston: Size, page, right, yeah.

454
00:24:28.220 --> 00:24:30.410
Maria Pena: Yeah, this is comic books.

455
00:24:30.650 --> 00:24:31.420
Tad Eggleston: Okay.

456
00:24:33.860 --> 00:24:35.799
Maria Pena: That's what it is. Yeah.

457
00:24:38.280 --> 00:24:39.570
Maria Pena: And.

458
00:24:44.000 --> 00:24:45.460
Tad Eggleston: I like the scrapbook.

459
00:24:46.840 --> 00:24:47.580
Tad Eggleston: Hmm.

460
00:24:47.740 --> 00:24:48.350
Maria Pena: Yeah.

461
00:24:48.980 --> 00:24:49.450
Marisol: Oh, yeah.

462
00:24:49.450 --> 00:24:50.409
Maria Pena: So we didn't

463
00:24:50.730 --> 00:24:51.710
Marisol: Sounds, fun.

464
00:24:52.880 --> 00:24:54.769
Maria Pena: We didn't discuss.

465
00:24:54.770 --> 00:24:55.290
Tad Eggleston: What we should.

466
00:24:55.290 --> 00:24:56.149
Maria Pena: Yeah. The draw.

467
00:24:56.150 --> 00:24:56.679
Tad Eggleston: Get into.

468
00:24:56.680 --> 00:24:58.510
Maria Pena: Gilbert, yeah.

469
00:24:59.050 --> 00:24:59.590
Marisol: So.

470
00:24:59.590 --> 00:25:00.556
Maria Pena: You know.

471
00:25:02.200 --> 00:25:03.230
Maria Pena: yeah.

472
00:25:03.530 --> 00:25:11.300
Maria Pena: he doesn't talk as much. He doesn't get into the process as much, which is probably why.

473
00:25:13.560 --> 00:25:32.489
Tad Eggleston: I did love. How he talked about. Sometimes he knows what panels gonna or what story the panel like like this page is showing us here. It's got 2 panels missing because he was gonna wrap up the story with the band in those 2 panels. But he hadn't figured that out yet. So he drew the ever Southern panels and left 2 panels.

474
00:25:32.980 --> 00:25:33.450
Maria Pena: Yeah.

475
00:25:33.805 --> 00:25:34.870
Marisol: It's like, edit.

476
00:25:34.870 --> 00:25:36.220
Tad Eggleston: Fill in later.

477
00:25:36.580 --> 00:25:37.440
Marisol: Yes.

478
00:25:38.300 --> 00:25:39.110
Maria Pena: Yeah, it's like.

479
00:25:39.110 --> 00:25:45.860
Tad Eggleston: I love. I love that they have like a a feeling, for where things will go even before they've figured it out.

480
00:25:45.890 --> 00:25:49.959
Tad Eggleston: Cause Jaime talked about that, too, with the filling in.

481
00:25:50.870 --> 00:25:51.610
Maria Pena: Fine

482
00:25:52.230 --> 00:25:53.560
Maria Pena: and needing. Yeah.

483
00:25:53.560 --> 00:26:01.479
Tad Eggleston: Finish different parts of the page, and like be working on multiple pages at once. You know, whatever part is interesting him right now.

484
00:26:02.200 --> 00:26:02.890
Maria Pena: Yep.

485
00:26:04.116 --> 00:26:08.919
Tad Eggleston: I also love this this Luba chronology.

486
00:26:09.510 --> 00:26:10.510
Marisol: Yeah.

487
00:26:11.740 --> 00:26:12.490
Marisol: to her as well.

488
00:26:12.490 --> 00:26:13.180
Maria Pena: Which was.

489
00:26:13.660 --> 00:26:14.430
Maria Pena: yeah.

490
00:26:14.430 --> 00:26:15.629
Tad Eggleston: So on. Page 30.

491
00:26:18.580 --> 00:26:19.870
Marisol: I thought I thought we.

492
00:26:19.870 --> 00:26:20.710
Tad Eggleston: We've got.

493
00:26:21.940 --> 00:26:24.310
Tad Eggleston: Did I? Did I go buy it

494
00:26:24.430 --> 00:26:26.659
Tad Eggleston: on accident? I thought

495
00:26:26.950 --> 00:26:31.190
Tad Eggleston: that we've gotten the different hairstyles of Hopi at some point.

496
00:26:31.370 --> 00:26:33.429
Marisol: We did. That was towards the beginning.

497
00:26:35.080 --> 00:26:35.909
Maria Pena: Awesome.

498
00:26:37.350 --> 00:26:38.469
Maria Pena: Oh, yeah, there is.

499
00:26:38.470 --> 00:26:40.599
Marisol: Like the 1st couple pages.

500
00:26:40.860 --> 00:26:44.829
Tad Eggleston: Oh, that's right. It was in the. It was in the beginning, beginning.

501
00:26:45.200 --> 00:26:46.210
Tad Eggleston: Yeah.

502
00:26:46.470 --> 00:26:47.830
Tad Eggleston: yeah, okay.

503
00:26:49.040 --> 00:26:49.889
Maria Pena: Blondie.

504
00:26:50.740 --> 00:26:51.430
Tad Eggleston: Yeah.

505
00:26:51.830 --> 00:26:59.039
Maria Pena: They initiate bad as Hopi, the Scarecrow, Blondie, Hippy Hopi, the encamp, Bob.

506
00:26:59.290 --> 00:26:59.640
Tad Eggleston: Yeah.

507
00:27:00.080 --> 00:27:01.190
Maria Pena: Yes. Correct.

508
00:27:02.020 --> 00:27:04.190
Tad Eggleston: And, for that matter, the the

509
00:27:04.860 --> 00:27:06.870
Tad Eggleston: well, 2 kisses and a hug

510
00:27:08.220 --> 00:27:08.880
Tad Eggleston: from.

511
00:27:08.880 --> 00:27:09.480
Maria Pena: Gilbert.

512
00:27:09.480 --> 00:27:09.930
Marisol: Yeah.

513
00:27:09.930 --> 00:27:11.470
Tad Eggleston: Too, is a nice.

514
00:27:11.470 --> 00:27:17.700
Marisol: Who we got here. I don't. I only recognize the middle people as Luba and.

515
00:27:18.100 --> 00:27:18.886
Tad Eggleston: Yeah, it's

516
00:27:21.780 --> 00:27:25.880
Tad Eggleston: Marcella and Riri, and then I go and Wanda at the bottom.

517
00:27:26.730 --> 00:27:27.960
Marisol: Oh!

518
00:27:28.500 --> 00:27:30.460
Maria Pena: I go from living rockets.

519
00:27:30.500 --> 00:27:32.399
Maria Pena: The local market story.

520
00:27:32.400 --> 00:27:33.429
Tad Eggleston: Band, yeah.

521
00:27:34.680 --> 00:27:37.374
Maria Pena: I mean he wasn't part of the band. I don't think.

522
00:27:39.260 --> 00:27:42.110
Tad Eggleston: Yeah, the Scarecrow is probably my favorite Hopi.

523
00:27:42.600 --> 00:27:43.340
Marisol: Yeah.

524
00:27:43.340 --> 00:27:44.300
Maria Pena: Yeah.

525
00:27:45.080 --> 00:27:45.630
Marisol: That's like.

526
00:27:45.630 --> 00:27:46.549
Maria Pena: That was, that was the idea.

527
00:27:46.550 --> 00:27:47.310
Marisol: This day.

528
00:27:47.310 --> 00:27:48.090
Maria Pena: Sonic.

529
00:27:48.390 --> 00:27:49.379
Tad Eggleston: So I am.

530
00:27:49.380 --> 00:27:49.780
Marisol: Be.

531
00:27:49.780 --> 00:27:53.367
Tad Eggleston: Big big fan of modern Hopi, too.

532
00:27:53.880 --> 00:27:54.630
Maria Pena: Hmm.

533
00:27:55.600 --> 00:27:56.470
Tad Eggleston: Me!

534
00:27:56.810 --> 00:27:57.816
Maria Pena: Keepy Hoppy.

535
00:28:00.360 --> 00:28:01.140
Maria Pena: Cute!

536
00:28:02.170 --> 00:28:08.929
Maria Pena: I lied before Jaime starts with the dialogue on a on a legal

537
00:28:09.040 --> 00:28:18.840
Maria Pena: pad, apparently, and then he breaks it down into panels. But then he changes the dialogue. It's it's Gilbert who does it, panel by panel.

538
00:28:18.840 --> 00:28:20.289
Tad Eggleston: In the panels. Yeah.

539
00:28:20.290 --> 00:28:22.150
Maria Pena: In the panels. Yeah. So

540
00:28:22.200 --> 00:28:23.399
Maria Pena: I got it wrong.

541
00:28:24.520 --> 00:28:27.870
Maria Pena: Printing a retraction right now.

542
00:28:30.810 --> 00:28:32.440
Maria Pena: I'm so sorry, Gilbert.

543
00:28:35.960 --> 00:28:36.320
Maria Pena: It's.

544
00:28:36.320 --> 00:28:38.600
Marisol: It's fun to get an insight onto, like

545
00:28:38.700 --> 00:28:40.720
Marisol: each of their different techniques

546
00:28:41.180 --> 00:28:43.150
Marisol: in their processes. How it

547
00:28:44.090 --> 00:28:45.629
Marisol: there can be some

548
00:28:45.940 --> 00:28:49.790
Marisol: similarities between them. But really it's it's very.

549
00:28:50.200 --> 00:28:53.989
Marisol: at least from how I read it. Very different.

550
00:28:53.990 --> 00:28:54.320
Maria Pena: Not all.

551
00:28:54.320 --> 00:28:57.679
Marisol: With the paper they use and

552
00:28:57.820 --> 00:28:59.830
Marisol: the pencils that they use.

553
00:29:01.930 --> 00:29:04.830
Marisol: but also how they're putting all their panels together.

554
00:29:06.080 --> 00:29:14.970
Maria Pena: Yeah, I think the storytelling part is really interesting, because at the end of the day, if you're an artist, you know, you use whatever. But you know.

555
00:29:14.970 --> 00:29:15.640
Marisol: And it.

556
00:29:15.640 --> 00:29:18.440
Maria Pena: It's good. Yeah, using the same

557
00:29:18.480 --> 00:29:19.540
Maria Pena: banners

558
00:29:19.740 --> 00:29:22.610
Maria Pena: a time. It's not gonna help you if you're

559
00:29:22.870 --> 00:29:26.839
Maria Pena: if your story telling or your drawing is bad, or

560
00:29:26.930 --> 00:29:34.230
Maria Pena: you know particularly the storytelling, because really you don't even have to be a good drawer as long as your storytelling is good.

561
00:29:34.350 --> 00:29:37.929
Maria Pena: But yeah, the storytelling part is definitely fascinating.

562
00:29:40.130 --> 00:29:44.049
Maria Pena: and of course it helps to have some great characters, and being

563
00:29:44.440 --> 00:29:46.800
Maria Pena: like I mean, Beto is just

564
00:29:47.190 --> 00:29:51.159
Maria Pena: genius as well. You know he's he's so good.

565
00:29:53.470 --> 00:29:54.340
Maria Pena: with history.

566
00:29:54.340 --> 00:30:01.070
Tad Eggleston: Because I know that Maria is not up to date. I'm I'm trying to get modern Hopi. I want your take on modern Hopi.

567
00:30:01.520 --> 00:30:03.132
Maria Pena: Oh, okay. Yeah.

568
00:30:04.470 --> 00:30:08.990
Tad Eggleston: That that just in case you were wondering what crazy stuff I was doing over here with the.

569
00:30:08.990 --> 00:30:10.117
Maria Pena: What are you doing?

570
00:30:12.290 --> 00:30:14.319
Marisol: And say, What are you looking for.

571
00:30:15.750 --> 00:30:16.610
Maria Pena: Yeah.

572
00:30:17.300 --> 00:30:18.910
Tad Eggleston: Cause. I feel like I feel

573
00:30:20.290 --> 00:30:27.699
Tad Eggleston: modern modern Hopi, like manages to to embrace our scarecrowness while still becoming

574
00:30:28.470 --> 00:30:30.440
Tad Eggleston: like wiser.

575
00:30:31.330 --> 00:30:31.705
Maria Pena: Yeah.

576
00:30:32.670 --> 00:30:34.580
Tad Eggleston: And a you know.

577
00:30:34.810 --> 00:30:36.549
Tad Eggleston: a little less

578
00:30:42.840 --> 00:30:44.030
Tad Eggleston: unhinged.

579
00:30:46.560 --> 00:30:47.399
Maria Pena: See her there.

580
00:30:47.400 --> 00:30:47.900
Marisol: Age.

581
00:30:47.900 --> 00:30:50.419
Tad Eggleston: Yeah, see this, this is as she's.

582
00:30:52.990 --> 00:30:53.550
Maria Pena: Oh.

583
00:30:54.380 --> 00:30:55.510
Maria Pena: sir.

584
00:30:56.330 --> 00:30:58.680
Maria Pena: what else can we say about this while we do that?

585
00:30:58.680 --> 00:30:59.230
Tad Eggleston: This is a.

586
00:30:59.230 --> 00:30:59.620
Maria Pena: She!

587
00:30:59.620 --> 00:31:01.779
Tad Eggleston: Getting her, teaching, license.

588
00:31:02.540 --> 00:31:03.210
Marisol: Oh, wow!

589
00:31:03.210 --> 00:31:06.220
Maria Pena: You're giving me spoilers already.

590
00:31:10.150 --> 00:31:14.239
Maria Pena: is there? I just don't have time to read. It's terrible.

591
00:31:14.240 --> 00:31:15.360
Tad Eggleston: We'll get there eventually.

592
00:31:15.960 --> 00:31:16.880
Marisol: Yeah.

593
00:31:17.330 --> 00:31:18.279
Tad Eggleston: Get there eventually.

594
00:31:18.280 --> 00:31:19.120
Maria Pena: Of.

595
00:31:22.670 --> 00:31:28.809
Maria Pena: So there. In this issue also, there was a who is who in love with rockets, which is probably very handy.

596
00:31:29.290 --> 00:31:29.770
Marisol: Oh, yeah.

597
00:31:30.101 --> 00:31:42.019
Maria Pena: The the whole and it and it sort of it came. Oh, here we go! It's falling off my, my, the middle of my my comic. So in the original issue it was part of the

598
00:31:42.140 --> 00:31:47.179
Maria Pena: that's the centerfold. There. It's like a bus stop.

599
00:31:48.490 --> 00:31:52.780
Maria Pena: And then but the other side is the lower rockets.

600
00:31:54.960 --> 00:31:58.989
Maria Pena: It's who's who and it's all on one page.

601
00:31:59.600 --> 00:32:04.629
Maria Pena: which is a double spread page. So there you go, and I'm gonna put it back in

602
00:32:05.510 --> 00:32:06.320
Maria Pena: by

603
00:32:08.690 --> 00:32:15.000
Maria Pena: my issue, which is now fallen. It's the middle has fallen off, because but funnily enough, I have 2 of these.

604
00:32:15.820 --> 00:32:16.195
Tad Eggleston: Yeah.

605
00:32:17.430 --> 00:32:23.159
Maria Pena: I bought one, and then I bought another. I must have gone to the comic store another time, you know, I'll buy that.

606
00:32:23.510 --> 00:32:30.240
Maria Pena: It must have been ages, maybe, you know, probably a year later, or whatever. Who knows? I hope it wasn't the same week.

607
00:32:30.826 --> 00:32:38.070
Maria Pena: Because that's like insane, and I bought it again, and I must have bought it. Yeah.

608
00:32:38.170 --> 00:32:38.810
Maria Pena: a.

609
00:32:38.810 --> 00:32:39.590
Tad Eggleston: There you go!

610
00:32:39.590 --> 00:32:42.249
Maria Pena: Forgotten that I had, that I had it.

611
00:32:42.250 --> 00:32:44.359
Tad Eggleston: There's a modern hoping.

612
00:32:44.360 --> 00:32:47.120
Maria Pena: Oh, yeah, look at that. She looks like an old dyke.

613
00:32:47.120 --> 00:32:48.010
Marisol: Oh, wow!

614
00:32:48.490 --> 00:32:52.809
Maria Pena: Yeah, she kind of looks. Yeah, yeah, it looks like my friends.

615
00:32:53.790 --> 00:32:56.530
Marisol: Oh, I love that for her. Yeah.

616
00:32:56.530 --> 00:32:57.940
Maria Pena: Yeah, it's good.

617
00:32:59.600 --> 00:33:00.030
Tad Eggleston: I love it.

618
00:33:00.030 --> 00:33:04.979
Maria Pena: And because she's she's older now she's looking a lot less, a lot

619
00:33:05.000 --> 00:33:07.269
Maria Pena: less feminine. You know how we women

620
00:33:07.590 --> 00:33:08.270
Maria Pena: there are

621
00:33:08.600 --> 00:33:12.549
Maria Pena: our femininity a little bit when we get older. Not Maggie, though.

622
00:33:14.180 --> 00:33:15.449
Maria Pena: Margaret is just for me.

623
00:33:17.780 --> 00:33:19.450
Marisol: But if you still have to.

624
00:33:20.320 --> 00:33:26.950
Tad Eggleston: Little little tease of what's probably what 2 years away for us at least, going in order.

625
00:33:27.770 --> 00:33:32.650
Maria Pena: And then there'll be more at the end of that, because we'll have to produce some more hopefully.

626
00:33:32.650 --> 00:33:34.030
Tad Eggleston: Right? Right? Well, there's.

627
00:33:34.030 --> 00:33:34.650
Maria Pena: Still.

628
00:33:34.650 --> 00:33:37.679
Tad Eggleston: Consistently coming out with 3 or 4 issues a year.

629
00:33:38.340 --> 00:33:38.920
Maria Pena: Nice.

630
00:33:41.130 --> 00:33:44.480
Maria Pena: Yeah, I better keep cracking with the reading because it

631
00:33:44.560 --> 00:33:46.040
Maria Pena: I never gonna catch up.

632
00:33:46.040 --> 00:33:46.660
Marisol: If

633
00:33:46.840 --> 00:33:47.789
Marisol: yeah, catch up.

634
00:33:47.790 --> 00:33:53.390
Maria Pena: I mean, this is great for me, because, you know, I get to read it, to read them again

635
00:33:53.450 --> 00:33:56.759
Maria Pena: slowly, which is good. But yeah, I know it takes a long time.

636
00:33:57.490 --> 00:34:00.630
Tad Eggleston: Well, I mean, I think we're averaging.

637
00:34:01.200 --> 00:34:16.670
Tad Eggleston: you know, in trying to do our our 2 week every other week thing we've been going at it for 2 years, and we've made it through 52. So so we're so we're essentially averaging every other week rather than every week. But but that's still, you know.

638
00:34:17.100 --> 00:34:19.290
Tad Eggleston: a decent pace.

639
00:34:20.020 --> 00:34:20.710
Maria Pena: Yeah, so bad.

640
00:34:20.719 --> 00:34:21.379
Marisol: Bad.

641
00:34:21.730 --> 00:34:22.400
Tad Eggleston: Which is why.

642
00:34:22.400 --> 00:34:23.050
Maria Pena: Yeah, because it.

643
00:34:23.050 --> 00:34:26.609
Tad Eggleston: 2 more years from now we'll probably be catching up.

644
00:34:29.409 --> 00:34:34.299
Maria Pena: Oh! And catching up on like 40 years of comics, which is really good.

645
00:34:34.300 --> 00:34:34.900
Marisol: Right.

646
00:34:34.900 --> 00:34:41.229
Tad Eggleston: Yeah, to do 40 years of comics in in 4 years, where you're really taking deep dives where you're not.

647
00:34:41.239 --> 00:34:41.569
Maria Pena: Yes.

648
00:34:41.570 --> 00:34:43.829
Tad Eggleston: Like binging it.

649
00:34:44.250 --> 00:34:44.670
Maria Pena: Yeah.

650
00:34:44.670 --> 00:34:49.269
Tad Eggleston: You're reading it, you're sitting with it. You're talking about it, and then you're moving on.

651
00:34:49.790 --> 00:34:50.980
Maria Pena: Yeah, yeah.

652
00:34:51.639 --> 00:34:53.849
Tad Eggleston: Is like, that's a lot.

653
00:34:54.249 --> 00:34:54.829
Tad Eggleston: Yeah.

654
00:34:54.830 --> 00:34:58.530
Maria Pena: Yeah, yeah, it is. Actually, I, I, yeah.

655
00:34:59.320 --> 00:35:07.990
Maria Pena: And this, you know, it's a reason why I really wanted to join this because it was like, you know what I I think that that would be a great thing to do.

656
00:35:07.990 --> 00:35:15.239
Tad Eggleston: Well, and I'm so glad you did, because you've been fantastic fantastic addition. And you know.

657
00:35:15.850 --> 00:35:18.999
Tad Eggleston: we might need to be adopted by an Australian

658
00:35:19.040 --> 00:35:23.420
Tad Eggleston: just saying, you always wanted kids, didn't you?

659
00:35:25.870 --> 00:35:29.680
Maria Pena: No! Oh, there you go! I didn't.

660
00:35:29.680 --> 00:35:33.577
Tad Eggleston: Well, see, that's the advantage. We're not actually children.

661
00:35:34.350 --> 00:35:38.430
Maria Pena: Yeah, we do have space here, guys. So you know, we got.

662
00:35:38.430 --> 00:35:38.840
Marisol: There you go!

663
00:35:38.840 --> 00:35:40.610
Maria Pena: When I start to bed route.

664
00:35:41.250 --> 00:35:43.500
Maria Pena: We live in the tropics in a you know.

665
00:35:44.650 --> 00:35:45.769
Marisol: We're gonna go camp out in.

666
00:35:45.770 --> 00:35:46.130
Maria Pena: No.

667
00:35:46.130 --> 00:35:46.990
Marisol: Backyard.

668
00:35:47.850 --> 00:35:52.920
Maria Pena: Bedrooms, your bedrooms in a pool, so you know.

669
00:35:52.920 --> 00:35:53.490
Tad Eggleston: Hey! Hey!

670
00:35:53.490 --> 00:35:56.095
Maria Pena: It's it's not a bad spot.

671
00:35:56.530 --> 00:35:59.710
Tad Eggleston: He's just making it sound more and more appealing every.

672
00:35:59.710 --> 00:36:00.310
Marisol: Right.

673
00:36:01.290 --> 00:36:02.700
Marisol: It's comfy.

674
00:36:03.010 --> 00:36:05.059
Maria Pena: Yeah, and you know, and if you.

675
00:36:05.460 --> 00:36:10.729
Maria Pena: if maybe if I adopt you, then you can become citizens, and then you have free health.

676
00:36:12.230 --> 00:36:15.910
Tad Eggleston: Oh, well, see, like I said, you just make this sound better.

677
00:36:15.910 --> 00:36:16.796
Maria Pena: Yeah. Good.

678
00:36:19.663 --> 00:36:20.050
Tad Eggleston: He's like.

679
00:36:20.050 --> 00:36:22.350
Maria Pena: Completely free. But you know it's a lot better than.

680
00:36:22.350 --> 00:36:23.630
Tad Eggleston: In the United States.

681
00:36:23.630 --> 00:36:30.379
Maria Pena: If your if your life is in danger, they take care of you. Even, you know, in the public system no problem.

682
00:36:30.380 --> 00:36:31.090
Tad Eggleston: What

683
00:36:34.900 --> 00:36:36.240
Tad Eggleston: Communist.

684
00:36:36.740 --> 00:36:39.059
Maria Pena: Yeah. No fucking Communists.

685
00:36:39.666 --> 00:36:42.090
Marisol: How dare they care?

686
00:36:42.090 --> 00:36:43.530
Tad Eggleston: About their people.

687
00:36:43.770 --> 00:36:50.270
Tad Eggleston: So I I know Maria's on a clock, so why don't we start talking some favorite panels? I know.

688
00:36:50.270 --> 00:36:50.780
Maria Pena: Oh, yeah.

689
00:36:50.780 --> 00:36:53.079
Tad Eggleston: Failure. One is my

690
00:36:53.850 --> 00:36:56.690
Tad Eggleston: my Gilbert panel like hands down.

691
00:36:57.790 --> 00:37:00.220
Tad Eggleston: Ophelia's smiling is just

692
00:37:00.420 --> 00:37:03.730
Tad Eggleston: wonderful, and I think I think I like Hopi's look

693
00:37:04.450 --> 00:37:05.720
Tad Eggleston: that that

694
00:37:06.770 --> 00:37:09.480
Tad Eggleston: that Maria was talking about as my.

695
00:37:10.190 --> 00:37:10.820
Maria Pena: Oh, yeah.

696
00:37:10.820 --> 00:37:11.880
Tad Eggleston: Only second.

697
00:37:13.940 --> 00:37:14.720
Maria Pena: Well.

698
00:37:15.870 --> 00:37:16.550
Maria Pena: here.

699
00:37:17.940 --> 00:37:22.360
Maria Pena: What about you, Billy? So have you got one, or should I try.

700
00:37:22.360 --> 00:37:28.020
Marisol: I've got. See, my Gilbert panels, it's what page is this?

701
00:37:28.510 --> 00:37:31.030
Marisol: Age? 4

702
00:37:31.880 --> 00:37:37.479
Marisol: the 3 middle panels? No, is it? Page 4. Hold on. I went too far back.

703
00:37:37.990 --> 00:37:39.770
Marisol: Page.

704
00:37:39.830 --> 00:37:41.270
Marisol: to

705
00:37:41.410 --> 00:37:48.220
Marisol: where Guadalupe is asking Luba about the sky and the stars. I just I love

706
00:37:48.380 --> 00:37:53.409
Marisol: Lupus expression. Hearing the question and her immediate turnaround. Go ask Ophelia.

707
00:37:54.100 --> 00:37:54.780
Maria Pena: Yeah.

708
00:37:55.100 --> 00:37:56.059
Marisol: That I love.

709
00:37:56.550 --> 00:37:57.550
Marisol: and

710
00:37:58.130 --> 00:37:59.440
Marisol: for

711
00:38:00.330 --> 00:38:02.750
Marisol: see, Jaime.

712
00:38:04.610 --> 00:38:06.120
Marisol: I have a human one.

713
00:38:09.670 --> 00:38:15.350
Tad Eggleston: So you want that whole whole middle strip, or just the Ascophilia.

714
00:38:15.670 --> 00:38:16.389
Tad Eggleston: Let's your.

715
00:38:16.390 --> 00:38:17.470
Marisol: Middle, strip.

716
00:38:17.470 --> 00:38:18.200
Tad Eggleston: Okay.

717
00:38:25.870 --> 00:38:28.349
Marisol: I don't know if I have a hyundai one this time.

718
00:38:35.350 --> 00:38:35.830
Marisol: Hmm!

719
00:38:39.220 --> 00:38:39.970
Maria Pena: Come back to you.

720
00:38:39.970 --> 00:38:40.630
Marisol: In that.

721
00:38:40.970 --> 00:38:41.360
Tad Eggleston: Okay.

722
00:38:41.360 --> 00:38:50.310
Maria Pena: Okay, all right. My favorite panel is probably, and I'll go with the is it 10 years already? Strip? Because it's a new strip.

723
00:38:50.710 --> 00:38:58.929
Maria Pena: and I like the top right panel of Maggie, lifting Hopi up and giving her a kiss. I think that's nice. It was the sort of thing that

724
00:38:59.440 --> 00:39:00.809
Maria Pena: when I was a

725
00:39:00.920 --> 00:39:03.410
Maria Pena: at that time, you know, it was sort of a bit.

726
00:39:03.510 --> 00:39:11.819
Maria Pena: I don't know if I had come out yet, but I was in my the process, and it was the sort of thing that used to thrill me to look at.

727
00:39:12.960 --> 00:39:13.830
Maria Pena: So

728
00:39:15.950 --> 00:39:17.969
Maria Pena: so yeah, I would have gone. Oh.

729
00:39:18.440 --> 00:39:19.169
Tad Eggleston: Do like the way.

730
00:39:19.170 --> 00:39:20.430
Maria Pena: She wasn't picking her up.

731
00:39:20.660 --> 00:39:24.020
Maria Pena: Yeah, cause hope he's little. And Maggie's yeah

732
00:39:24.090 --> 00:39:26.170
Maria Pena: bigger, stronger.

733
00:39:27.379 --> 00:39:28.269
Maria Pena: It?

734
00:39:30.020 --> 00:39:37.250
Maria Pena: yeah, because it was always a little bit ambiguous with them, and it was just nice to see a

735
00:39:37.480 --> 00:39:40.800
Maria Pena: you know, public. The affection.

736
00:39:40.800 --> 00:39:43.409
Tad Eggleston: Public display of affection. This little Pda.

737
00:39:43.410 --> 00:39:44.270
Maria Pena: Yeah, you know.

738
00:39:44.850 --> 00:39:45.310
Maria Pena: Yay.

739
00:39:47.246 --> 00:39:53.950
Maria Pena: yeah, it's nice to see that. So that's my favorite panel in terms of

740
00:39:53.980 --> 00:39:55.460
Maria Pena: Hilberto.

741
00:39:58.470 --> 00:40:00.923
Maria Pena: I don't know his panels are so good.

742
00:40:01.230 --> 00:40:01.860
Tad Eggleston: Yeah.

743
00:40:02.810 --> 00:40:03.309
Marisol: I found it.

744
00:40:03.739 --> 00:40:08.460
Maria Pena: Think I like the Luba, the Luba timeline. You know that.

745
00:40:08.460 --> 00:40:09.290
Marisol: Yeah.

746
00:40:09.290 --> 00:40:14.070
Maria Pena: Where you see her from little to to matron leave.

747
00:40:14.900 --> 00:40:17.540
Maria Pena: And yeah, I think that's great.

748
00:40:19.660 --> 00:40:21.380
Maria Pena: That may have been

749
00:40:21.410 --> 00:40:24.619
Maria Pena: drawn for that. For that panel.

750
00:40:24.620 --> 00:40:25.580
Tad Eggleston: There's a really good chat.

751
00:40:25.927 --> 00:40:26.969
Maria Pena: The 89?

752
00:40:27.020 --> 00:40:28.499
Maria Pena: No, because he was.

753
00:40:28.500 --> 00:40:28.950
Tad Eggleston: Basically.

754
00:40:28.950 --> 00:40:32.910
Maria Pena: 89, yeah. So it was done before. But it's great.

755
00:40:32.910 --> 00:40:33.510
Marisol: Oh.

756
00:40:35.200 --> 00:40:38.040
Marisol: so lovely to have it included in here.

757
00:40:39.470 --> 00:40:49.889
Tad Eggleston: Yeah, it could. It could have been for promotional material, it could have been commission. There. There's like a million things that that could easily be a part of.

758
00:40:50.850 --> 00:40:55.449
Maria Pena: Yeah, I love that. You see, it's her, you know, like their eyes.

759
00:40:55.550 --> 00:40:56.530
Maria Pena: Yeah, I see.

760
00:40:56.530 --> 00:41:00.870
Tad Eggleston: No, it's it's it's very much her, even from the very small.

761
00:41:01.580 --> 00:41:02.444
Marisol: Yeah.

762
00:41:04.610 --> 00:41:10.059
Maria Pena: Yeah. And I love that. They're holding hands and being, it's lovely. Yeah, yeah.

763
00:41:10.060 --> 00:41:10.550
Marisol: Yeah.

764
00:41:10.550 --> 00:41:11.140
Tad Eggleston: I know.

765
00:41:12.020 --> 00:41:13.050
Maria Pena: Get that.

766
00:41:14.700 --> 00:41:16.799
Tad Eggleston: Alright, Marisol, you said you had a Jaime.

767
00:41:17.320 --> 00:41:22.580
Marisol: Yeah. My other one was the page just before the scrapbook. I can't find

768
00:41:23.060 --> 00:41:25.589
Marisol: the page number on the actual page.

769
00:41:25.590 --> 00:41:27.400
Tad Eggleston: So 32.

770
00:41:28.020 --> 00:41:34.039
Marisol: Yeah, that very bottom part where we see Maggie modeling swimsuit.

771
00:41:34.240 --> 00:41:34.920
Maria Pena: Oh yes!

772
00:41:34.920 --> 00:41:35.760
Tad Eggleston: Oh! So so!

773
00:41:35.760 --> 00:41:39.230
Maria Pena: And then she's like, Oh, yeah.

774
00:41:39.230 --> 00:41:41.521
Marisol: He's all just like Oh.

775
00:41:41.980 --> 00:41:42.860
Maria Pena: Yeah.

776
00:41:43.170 --> 00:41:47.242
Maria Pena: just like, how do I look at this? Simpson? Yeah.

777
00:41:47.650 --> 00:41:49.480
Marisol: Trying out different poses.

778
00:41:50.330 --> 00:41:50.890
Maria Pena: Yeah.

779
00:41:53.520 --> 00:41:54.460
Marisol: It's so cute.

780
00:41:54.890 --> 00:41:55.910
Tad Eggleston: It is.

781
00:41:56.570 --> 00:42:00.370
Tad Eggleston: I like the use of color there, too, the the.

782
00:42:00.370 --> 00:42:01.230
Maria Pena: Hmm.

783
00:42:01.230 --> 00:42:03.209
Tad Eggleston: Blue and the pink and the

784
00:42:03.400 --> 00:42:04.230
Tad Eggleston: black.

785
00:42:04.230 --> 00:42:04.930
Maria Pena: Yeah.

786
00:42:05.940 --> 00:42:08.020
Tad Eggleston: I think it's interesting that

787
00:42:08.130 --> 00:42:09.840
Tad Eggleston: when the pink

788
00:42:10.640 --> 00:42:11.840
Tad Eggleston: doesn't

789
00:42:12.970 --> 00:42:14.720
Tad Eggleston: catch her whole

790
00:42:15.130 --> 00:42:16.820
Tad Eggleston: body through the black.

791
00:42:17.520 --> 00:42:21.290
Tad Eggleston: what it doesn't catch becomes blue rather than black.

792
00:42:23.780 --> 00:42:25.240
Maria Pena: Or what? Hmm.

793
00:42:25.240 --> 00:42:27.129
Tad Eggleston: Right. See these 2.

794
00:42:28.820 --> 00:42:30.379
Tad Eggleston: Carries the blue down.

795
00:42:32.320 --> 00:42:40.260
Maria Pena: Yeah, because the blue is, it's just a stripe of blue and pink and blue and pink, and then is. And then the black is on top of that.

796
00:42:40.590 --> 00:42:41.440
Tad Eggleston: Right.

797
00:42:42.090 --> 00:42:42.550
Maria Pena: Yes.

798
00:42:42.550 --> 00:42:49.259
Tad Eggleston: So it's almost it's almost like it's stripe. It's well. But but what it makes it look like is

799
00:42:49.590 --> 00:42:50.600
Tad Eggleston: like

800
00:42:51.330 --> 00:42:55.400
Tad Eggleston: there's some sort of wall or whatnot that doesn't pick up the color.

801
00:42:55.880 --> 00:42:58.760
Tad Eggleston: and that this is actually like lighting.

802
00:42:59.370 --> 00:43:03.569
Tad Eggleston: So if it hits her skin, you see it, and if it doesn't.

803
00:43:06.150 --> 00:43:07.300
Tad Eggleston: Then

804
00:43:07.560 --> 00:43:09.560
Tad Eggleston: it it's soaked into the black.

805
00:43:12.420 --> 00:43:13.309
Maria Pena: Is, is.

806
00:43:13.310 --> 00:43:15.220
Tad Eggleston: Is kind of what it feels like to me.

807
00:43:16.420 --> 00:43:17.490
Marisol: That makes sense.

808
00:43:17.890 --> 00:43:18.480
Tad Eggleston: Particularly.

809
00:43:18.480 --> 00:43:23.449
Maria Pena: It's a it's a black and white. It's a black and white image with a black.

810
00:43:23.450 --> 00:43:23.890
Tad Eggleston: Right.

811
00:43:23.890 --> 00:43:27.029
Maria Pena: You know, with a black stripe at the bottom.

812
00:43:27.130 --> 00:43:29.009
Maria Pena: so if it was black and white

813
00:43:29.340 --> 00:43:30.470
Maria Pena: it would be.

814
00:43:31.190 --> 00:43:35.110
Maria Pena: and then and then they printed the pink and blue behind it.

815
00:43:35.430 --> 00:43:41.690
Maria Pena: and so whatever's seen through the black, whatever is white just picks up the color and.

816
00:43:41.900 --> 00:43:42.540
Tad Eggleston: Right.

817
00:43:42.540 --> 00:43:45.589
Maria Pena: And the color is just the stripes. So.

818
00:43:45.980 --> 00:43:46.620
Tad Eggleston: Right

819
00:43:48.560 --> 00:43:49.130
Tad Eggleston: to.

820
00:43:49.130 --> 00:43:50.529
Maria Pena: Just yeah.

821
00:43:51.120 --> 00:43:53.080
Maria Pena: It's a printing. Yeah, it's just.

822
00:43:53.080 --> 00:43:57.870
Tad Eggleston: No, I know that's the technical side. But but like from from a from a

823
00:43:58.080 --> 00:43:58.930
Tad Eggleston: like

824
00:43:59.160 --> 00:44:01.380
Tad Eggleston: mind building the story

825
00:44:02.960 --> 00:44:13.469
Tad Eggleston: perspective, it's almost like that's the lighting in the room of the photo. Shoot so like if she moves a little bit she gets the slightly different light.

826
00:44:13.720 --> 00:44:14.729
Maria Pena: Oh, I see!

827
00:44:14.730 --> 00:44:16.230
Marisol: In the fitting room, or something.

828
00:44:16.230 --> 00:44:16.650
Tad Eggleston: Right?

829
00:44:19.390 --> 00:44:20.770
Tad Eggleston: So I mean.

830
00:44:20.770 --> 00:44:21.480
Maria Pena: Yeah.

831
00:44:22.070 --> 00:44:25.989
Tad Eggleston: It just gives it that that much more feeling of

832
00:44:28.440 --> 00:44:29.760
Tad Eggleston: motion.

833
00:44:30.110 --> 00:44:33.510
Tad Eggleston: like like time between the pick. Does that make sense.

834
00:44:33.960 --> 00:44:35.120
Maria Pena: Yeah, yeah, yeah, no.

835
00:44:35.120 --> 00:44:39.859
Tad Eggleston: Makes it feel more like a story rather than just a a series of pinups.

836
00:44:40.680 --> 00:44:41.550
Marisol: Right. Yep.

837
00:44:43.260 --> 00:44:44.140
Tad Eggleston: So.

838
00:44:44.360 --> 00:44:46.850
Marisol: Like she's going through this process of trying these different but.

839
00:44:46.850 --> 00:44:59.570
Maria Pena: Like like as if the if the colors were projected onto that wall. And the the black part doesn't reflect the the light. Obviously.

840
00:44:59.570 --> 00:45:00.400
Marisol: Exactly.

841
00:45:01.770 --> 00:45:07.430
Maria Pena: So you. So you'd get the projection on the leg, half half big, pink, half blue.

842
00:45:07.670 --> 00:45:08.420
Maria Pena: Right?

843
00:45:09.070 --> 00:45:09.840
Maria Pena: Yeah. Yeah.

844
00:45:09.840 --> 00:45:12.130
Tad Eggleston: So alrighty! Next week.

845
00:45:12.130 --> 00:45:13.250
Maria Pena: All right.

846
00:45:13.920 --> 00:45:20.970
Tad Eggleston: We'll do some wrestling with Jaime or not. Next week. 2 weeks we'll do some wrestling with Jaime, and we'll meet.

847
00:45:21.270 --> 00:45:26.690
Tad Eggleston: I think we've met Venus. But we'll start to really get to know Venus. Venus is another.

848
00:45:26.690 --> 00:45:28.360
Marisol: Yeah, we've we've been having this before.

849
00:45:28.360 --> 00:45:31.240
Tad Eggleston: Venus is another one of my favorite characters.

850
00:45:31.380 --> 00:45:35.720
Tad Eggleston: Venus is particularly one of my favorite characters when she starts.

851
00:45:36.020 --> 00:45:40.337
Tad Eggleston: or actually, this is where we met her already. She's she's friends with

852
00:45:41.890 --> 00:45:43.919
Tad Eggleston: Why can't I remember the name of the.

853
00:45:43.920 --> 00:45:44.960
Maria Pena: Casimira.

854
00:45:44.960 --> 00:45:47.376
Tad Eggleston: Yeah, Casimir and Venus, like

855
00:45:48.720 --> 00:45:49.199
Tad Eggleston: we hit it.

856
00:45:49.200 --> 00:45:50.209
Marisol: Best friends, now.

857
00:45:50.210 --> 00:45:52.859
Tad Eggleston: Think at least I think at least one of.

858
00:45:52.940 --> 00:45:58.700
Tad Eggleston: I think at least one of the things we're going to be reading for next week is a letter

859
00:45:59.690 --> 00:46:02.870
Tad Eggleston: either from Venus to Casamira or the other way around.

860
00:46:02.950 --> 00:46:05.049
Tad Eggleston: So I'm looking forward to it.

861
00:46:05.540 --> 00:46:07.260
Tad Eggleston: looking forward to it

862
00:46:07.490 --> 00:46:08.720
Tad Eggleston: cool.

863
00:46:09.220 --> 00:46:10.450
Tad Eggleston: So yeah.

864
00:46:10.600 --> 00:46:11.400
Tad Eggleston: there's another one.

865
00:46:11.400 --> 00:46:11.810
Maria Pena: All right.

866
00:46:11.810 --> 00:46:15.276
Tad Eggleston: For Maria and Marisol. This has been the

867
00:46:15.720 --> 00:46:22.599
Tad Eggleston: Love and Rockets book Club on 22 panels, and we will see you after the next page.