Bonus Episode: 22 Panels Book Club - Love and Rockets - The In-Between Years pt. 7

Maria, Marisol, and Tad discuss Gilbert Hernandez' New Love #5 and Jaime Hernandez' Penny Century #3.

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Transcript

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Tad Eggleston: Good afternoon, everybody. Morning in Australia. Welcome back to the Love and Rockets book Club on 22 panels where

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Tad Eggleston: we are going to discuss. This is our 7th session of the in between years, and we'll discuss Penny century number 3, and once Madisal is done reading it

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Tad Eggleston: because she's she's she's flying through it right now because she accidentally read Number 6. We'll we'll discuss New Love Number 5.

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Tad Eggleston: So we'll start with.

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Marisol: Apparently jumped ahead on that one.

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Tad Eggleston: Start with some Jaime this week. I love this cover.

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Maria Pena: Oh, yeah. Yeah.

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Tad Eggleston: Doesn't go with anything in the book, but I love the cover.

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Maria Pena: Yeah, the snake dress and penny getting a proposal from the devil.

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Tad Eggleston: And it, says Jaime comics, and they add on the back, girls, women learn to wrestle the Vicky way.

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Maria Pena: Right? Good stuff.

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Tad Eggleston: It's a yeah. This is just a beautiful cover.

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Tad Eggleston: It's it's.

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Maria Pena: It's it's a very demure looking penny.

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Tad Eggleston: Yeah. Well, and then you add the quirky Hopi up in the corner.

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Tad Eggleston: This this cover has it all in a way that should be too much.

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Tad Eggleston: but instead is just the right amount.

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Maria Pena: Yeah, no, it's.

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Tad Eggleston: You know?

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Tad Eggleston: Yeah.

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Maria Pena: It's a beautifully graphic as usual. You know. Jaime is a very good designer.

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Tad Eggleston: Yeah, I adore his covers, big fan of that cover.

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Tad Eggleston: I only skimmed the red letters.

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Maria Pena: Oh, yeah. Julie.

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Tad Eggleston: They weren't as funny as some.

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Tad Eggleston: Yeah, I mean, it kind of like the guy from Denmark talking about

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Maria Pena: Being an old.

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Tad Eggleston: Young girls of any any age, and that being attractive to old men. But you know.

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Maria Pena: Yeah.

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Maria Pena: Good.

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Tad Eggleston: But this story.

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Maria Pena: Women do that like.

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Tad Eggleston: What?

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Maria Pena: I don't know how men do that like, you know. I look at pretty young girls, and I feel kind of motherly.

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Tad Eggleston: Yeah, no, I, I.

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Maria Pena: I feel like I got to be honest, I'm too young.

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Tad Eggleston: I'm I'm I'm in your camp. I tend to be.

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Tad Eggleston: I mean, I guess the older I get.

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Tad Eggleston: the more younger than me they can be and not have me feel weird.

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Tad Eggleston: They have to be significantly older than my children.

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Maria Pena: Yes.

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Tad Eggleston: Otherwise. Then it's it's very much weird.

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Tad Eggleston: and for most of my life I was almost exclusively attracted to women that were older than me, which is why it's weird that I married a woman that was 96 h younger than me.

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Tad Eggleston: I am robbing the cradle there.

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Maria Pena: That show you jeez.

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Tad Eggleston: I know, 96 h younger than me, 4 whole days.

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Marisol: That's funny.

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Maria Pena: Yeah, my partner's 3 years younger side. And even then, you know, we I feel the difference in our difference in our years, you know, like, we're just a slightly different generation, like, just.

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Marisol: I haven't.

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Maria Pena: Like 3 years make a big difference. Imagine being with someone that's 1520, whatever years. Yeah.

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Maria Pena: And the US.

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Maria Pena: I just don't understand it.

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Tad Eggleston: Like once you hit 30, 45 doesn't feel as old.

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Tad Eggleston: but 25 is still a baby.

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Maria Pena: Yeah.

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Marisol: Yes.

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Tad Eggleston: You know.

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Marisol: Like, what did you?

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Marisol: Just at 30.

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Tad Eggleston: Once you hit 40.

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Marisol: Yeah, like 26 and younger. Those are children.

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Tad Eggleston: Once, you hit, yeah, 40.

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Marisol: Eighties.

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Tad Eggleston: You might consider a 30 year old.

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Marisol: -

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Tad Eggleston: Might.

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Tad Eggleston: or at least I'm I might have considered a 30 year old at 40. I'm married by 40, so you know it doesn't matter, but I might.

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Tad Eggleston: but much younger than 30 I would have been going.

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Maria Pena: Yeah.

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Tad Eggleston: I already went through those years once. I don't know if I want to go through them again, and.

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Marisol: Right.

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Maria Pena: Yeah.

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Tad Eggleston: I mean, it's kind of like the grandparent thing it's like. It's like I get to go back to the good parts of babies. And then, when it gets to the bad part, here you go.

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Maria Pena: Think of that!

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Marisol: Hand this off to you.

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Tad Eggleston: The good parts of the the grade school years, and when I hit the annoying parts it's like, I gotta go home or, Hey, come, pick up your kid, or

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Tad Eggleston: 3 more hours, if you're actually custodial for a while. You know what I mean.

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Maria Pena: Yeah, yeah.

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Tad Eggleston: But yeah.

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Tad Eggleston: there's just so much maturing that goes on during those years. I just which almost makes me wonder when you do have the people who serially date people younger than them. It's like you just never.

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Maria Pena: No, no! The company!

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Tad Eggleston: Oh, 2 years!

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Maria Pena: Yeah, yeah.

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Tad Eggleston: Yeah, you just so you just never

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Tad Eggleston: really get to know them at all, do you? Or you're just stuck at that age you haven't actually made it through that age yourself yet, and you're hoping that one of them will will help you.

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Maria Pena: Hmm, maybe yeah.

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Tad Eggleston: One of them will help you finally mature behind your twenties.

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Maria Pena: Yeah, exactly. Yeah.

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Maria Pena: Oh! So!

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Tad Eggleston: Back to Penny Century. This is perhaps

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Tad Eggleston: this might be one of my top 5 Jaime stories.

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Maria Pena: This is fantastic, like.

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Tad Eggleston: I love this story.

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Maria Pena: You know what happened? I started reading it, and I finished reading it, and I was like, Oh, that's there's no no, you know, there's no, there's no sort of adult kind of stories. And then I realized, Oh, my God, it's the whole comic.

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Tad Eggleston: Yeah.

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Maria Pena: It's a whole comic. It's you know you.

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Tad Eggleston: This is the one story.

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Maria Pena: One story, and

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Maria Pena: but but you know, I got so into it that when I finished I was like, Well, okay, next. And it was like, Oh, there's no next! Oh, that was the whole thing. I was so surprised I was.

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Tad Eggleston: But also it's it's such a formative story of both Isabel and Maggie.

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Maria Pena: Yeah.

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Tad Eggleston: And there were leash.

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Maria Pena: Yeah.

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Tad Eggleston: And it kind of looks like Jaime drew himself. Isabel.

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Maria Pena: I know it is.

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Marisol: Yeah.

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Tad Eggleston: Jaime. Jaime's got a thing for Isabel, apparently.

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Maria Pena: Has, he.

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Tad Eggleston: I mean, we got to see them making out.

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Maria Pena: Oh, it!

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Marisol: Yeah.

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Maria Pena: No! No! Well.

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Marisol: No, no, it's.

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Maria Pena: He's not. He's a bit.

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Marisol: Sister!

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Maria Pena: Boyfriend he's is. Oh, no.

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Tad Eggleston: Yeah, you're right, not Isabel, but Isabel's older.

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Marisol: Older sister's boyfriend.

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Maria Pena: This is.

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Tad Eggleston: Yeah, yeah. I'm sorry. I'm sorry.

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Maria Pena: Yeah, so, no.

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Tad Eggleston: Talking about men and younger girls

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Tad Eggleston: right? Right? Right. No, no. Sorry.

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Tad Eggleston: Oh, what's what's her her sister's name? I'm forgetting gorilla.

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Maria Pena: No, yeah. Yeah. However, his name is Chavela. That's Isabel.

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Maria Pena: Yeah, that's funny, isn't it? Because

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Tad Eggleston: Chabella ended up marrying that creep.

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Maria Pena: Cabela is short for Isabella. So this is funny. Obviously they love that name in the family.

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Maria Pena: Yeah.

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Maria Pena: So, baby Baby Maggie, getting, you know.

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Maria Pena: getting easy easy as a as a young babysitter.

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Maria Pena: and she's a bit mean to her for a while, but then they become

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Maria Pena: good friends. Eventually. Finally she got a.

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Tad Eggleston: Realizes there should be a little.

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Maria Pena: Breath.

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Tad Eggleston: Barry, Hank Ketchum, Charles.

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Maria Pena: But yeah, yeah.

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Tad Eggleston: It's a.

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Maria Pena: It's such a.

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Marisol: Such a cute story. I love this this when he they draw little kids.

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Tad Eggleston: Yeah.

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Maria Pena: Yeah, like it's I love Maggie style.

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Tad Eggleston: Getting dirty.

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Maria Pena: And the in fact.

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Maria Pena: Yeah, that Maggie obviously was neglected by her parents, you know, because she.

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Tad Eggleston: Well, they were fighting. Yeah.

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Maria Pena: He ends up out in the street along with a dirty nappy, and it's just really sad.

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Tad Eggleston: I love, and I love even more that they took like

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Tad Eggleston: 4 whole pages with, or he took 4 whole pages with it. When Isabelle hides on top of the dugout and Maggie freaks out, and then she comes to

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Tad Eggleston: no, it's okay. It's okay.

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Tad Eggleston: But then it leads to Maggie hiding. And Isabel freaking out.

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Maria Pena: Yes, yes.

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Tad Eggleston: That it's not clear I love here that it's not 100% clear that she sees Maggie, or she's just shouting it out because she knows that Maggie.

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Maria Pena: No, no.

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Tad Eggleston: Her. I think that she sees Maggie.

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Maria Pena: Well, no, she's looking for her top top left frame. She's she's freaking out. And then she in the next frame she actually catches her she goes.

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Maria Pena: and then.

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Tad Eggleston: Yeah, yeah, and I.

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Maria Pena: Realizes. I.

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Tad Eggleston: I think I mostly read it that way, but I could also read it as that slightly older kid going. Oh, wait! No, she's turned this around on me, but I know how to do this where I don't have to look for I'm going to offer her candy.

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Maria Pena: And she will stop.

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Tad Eggleston: Hiding. As soon as I say that.

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Maria Pena: No, no, that's right. She realizes that she's hiding, and then she goes. Oh, I sure wish she's obviously saying it, so that

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Maria Pena: Maggie.

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Tad Eggleston: It says.

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Maria Pena: It.

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Tad Eggleston: Right. But what I mean is, since we can, since we can see Maggie behind the pole.

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Tad Eggleston: What's not 100% clear to me is whether Izzy has seen Maggie.

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Maria Pena: Decide.

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Tad Eggleston: To play it this way.

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Maria Pena: Her eyes, or if Izzy Maggie.

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Tad Eggleston: It seems like it is.

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Maria Pena: Well, it's pretty clear.

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Tad Eggleston: Pulls behind her.

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Maria Pena: Yeah, but she's she's looking bit. She's.

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Tad Eggleston: Yeah.

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Maria Pena: You know. That's that's cartooning for you. Right?

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Maria Pena: You know. She's looking towards it. She she stops

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Maria Pena: asking. She's she stops midway because she sees her. She was put, and she says, Oh, there she is.

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Maria Pena: and she thinks the you know. Question mark, meaning you know, like, what am I Gonna do now and and then she and she starts, you know, doing the

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Maria Pena: the thing, you know. I wish Perlita was here so I could give her some candy, but I guess she's not. Oh, well, you know.

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Maria Pena: Yeah, now it's pretty clear to me, but.

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Tad Eggleston: To get it over there.

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Maria Pena: Hmm.

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Tad Eggleston: I love it. If you want your candy, you have to get it over there, and then she runs away the other direction. Maggie just waits for.

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Tad Eggleston: What are you waiting for?

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Maria Pena: And then they best friends.

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Tad Eggleston: Right, right.

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Maria Pena: It's mute, pretty cool.

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Marisol: So cute.

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Tad Eggleston: She went. Maggie went from being the way that Isabel could go hide out at the Park and smoke, and not, and tell her father that. No, I didn't go to the Park alone.

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Tad Eggleston: I wasn't alone in the park.

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Marisol: Technically true.

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Tad Eggleston: Oh!

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Maria Pena: Yeah.

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Tad Eggleston: To, they actually became.

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Marisol: Yes, friends, actually really like Maggie.

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Tad Eggleston: I also love the the like bear coat

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Tad Eggleston: that that Maggie's wearing the the 1st time they meet.

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Marisol: Hello!

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Tad Eggleston: Yeah.

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Marisol: Adorable.

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Tad Eggleston: Yeah.

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Maria Pena: Bleach, bear coat.

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Tad Eggleston: I don't know. Maybe it's not a bear, but but like.

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Maria Pena: No.

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Marisol: It's some kind of little good, but has 2.

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Marisol: See?

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Tad Eggleston: 2 things that stick out of it. So I feel like they're supposed to be ears that aren't always quite in the right spot, because that's how kids wind up being

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Tad Eggleston: when they've got their onesies on. And they they move the hoods around.

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Maria Pena: Well, the second, the one on the side doesn't stick out, though.

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Tad Eggleston: Yeah.

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Maria Pena: Like in those those frames there.

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Tad Eggleston: So I guess maybe there's 2 on the sides and one on the top of the head.

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Maria Pena: I think that's what it is. Yeah.

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Tad Eggleston: Okay, then it's even more adorable because I have no idea what kind of code it is.

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Maria Pena: That's right.

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Maria Pena: Yeah, that is a weird space code.

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Tad Eggleston: Yeah.

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Marisol: I don't know why, but it's like with the little thing on her head.

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Marisol: It reminds me of like the

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Marisol: like a little bit like the teletubbies, because she's got.

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Tad Eggleston: Yeah.

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Marisol: Weird little thing poking up the top of the head.

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Tad Eggleston: And you know what this might actually be.

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Tad Eggleston: And just late enough to

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Tad Eggleston: that. Teletubbies were out, I mean, obviously in real, in love and rockets world. This is in the late seventies, right.

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Marisol: Yeah.

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Tad Eggleston: But but he drew it in 97. So I think teletubbies were actually a thing. It might have

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Tad Eggleston: played some level of influence.

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Maria Pena: Yep.

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Maria Pena: Oh, and and that thing with the owl that was interesting.

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Maria Pena: We don't that some.

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Marisol: Oh, cursed owl!

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Maria Pena: She feels a bit guilty about something she hears that ow, you know, or.

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Maria Pena: I don't know if it's connected to.

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Tad Eggleston: Well, because her sister told her that that the owl talked about a witch's curse.

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Maria Pena: Yeah. Yeah.

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Maria Pena: But you know, when she's I think when she's, you know, like when she gets grounded, she hears it, you know.

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Maria Pena: She's sort of oh, after she made them okay. Well, maybe it's got nothing to do like.

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Maria Pena: I was wondering whether she felt that it was like a punishment, you know, to hear it. But

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Maria Pena: but maybe it's just, you know, at night she just generally hears the owl, and it freaks in. It sort of scares her.

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Maria Pena: So that was the owl from Mrs.

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Tad Eggleston: Galindo.

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Maria Pena: Galindo, and that they think it's a witch or something.

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Maria Pena: yeah.

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Maria Pena: So yeah, there's a big.

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Tad Eggleston: Oh, that's such a great shot!

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Maria Pena: Hmm.

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Tad Eggleston: The the frustrated Isabel on the back seat.

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Marisol: Yeah.

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Maria Pena: Oh! That!

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Marisol: Are you so cute.

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Maria Pena: Curious.

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Tad Eggleston: Yeah.

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Tad Eggleston: Oh, picking a panel here is gonna be so hard.

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Tad Eggleston: I also love the the staring contest with the baby.

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Marisol: Might be my actual favorite series of panels for this.

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Tad Eggleston: Right.

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Marisol: Just because.

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Tad Eggleston: Yeah.

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Marisol: Oh, how subtly snaggy the baby is, and how angry he is!

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Marisol: I mean, that's what babies do. They stare at everything.

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Tad Eggleston: Well, Isabel, going nuts is pretty good, too, particularly because that's right.

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Tad Eggleston: Seems very nonplussed.

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Tad Eggleston: Yeah, thank you.

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Marisol: Doesn't matter. It's all good.

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Tad Eggleston: Well, and if you think about the fights that go on at Maggie's house, she's probably going. Oh, she's a grown up.

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Maria Pena: Oh, my God!

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Tad Eggleston: It's it's probably all I think it's up.

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Tad Eggleston: This is how people like that act.

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Tad Eggleston: Yeah, you're bigger than me. So this is how you behave.

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Marisol: Yeah, it's fun.

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Tad Eggleston: Oh, this, the the the 1st close up of Maggie wailing is just oh.

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Maria Pena: Hmm.

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Tad Eggleston: The pain.

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Marisol: Poor thing!

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Tad Eggleston: The pain.

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Marisol: It's so bad.

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Tad Eggleston: Yeah.

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Marisol: She's so scared, she thought. Isabel left her alone.

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Tad Eggleston: Well, and I wonder if the scree after that has to do with. Oh, I was mean to, Maggie, and now I'm in bed thinking about it that night, and oh, I hear the owl somebody put.

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Maria Pena: Of course, sir.

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Marisol: That's what I was thinking.

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Tad Eggleston: I need to be better with Maggie.

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Maria Pena: Well, that's.

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Marisol: Yeah, that's what I think to mean that she yeah.

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Marisol: I mean, imagine, felt guilty about it afterwards.

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Maria Pena: And she and she hears the owl, and it feels like and.

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Tad Eggleston: I also.

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Maria Pena: And.

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Tad Eggleston: Yeah, the constant. I didn't hit her.

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Marisol: Yup. I didn't ask you if you hit her. Why do you keep saying it?

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Tad Eggleston: Do that. The Charles Schultz, wide open mouth, perfect.

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Maria Pena: Hi! Niece!

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Marisol: I do really love. How in this issue, we we get to see this background of this relationship develop.

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Tad Eggleston: Yeah.

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Marisol: First, st Isabelle just begrudgingly watching baby Maggie, and then, later on, the

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Marisol: really coming to care for her and see her as her little friend.

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Maria Pena: Yeah, it's very sweet always. After that she always looked after us.

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Maria Pena: As a friend, you know I should become.

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Tad Eggleston: Yeah. The scree after Dad found the cigarettes.

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Tad Eggleston: The scree after she drew things on her wall.

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Tad Eggleston: So she hears it when she's done bad things, or when she thinks she's done bad things.

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Maria Pena: And also with.

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Marisol: Feels guilty about it.

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Maria Pena: Yeah.

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Maria Pena: Yeah.

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Maria Pena: And when they're in the forest playing she hears it.

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Maria Pena: She hates it. Oh, when they 1st go to the Foresting page 15.

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Tad Eggleston: Yeah. You also know that

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Tad Eggleston: Mrs. Galindo is actually really nice, no matter what the like neighborhood wives tales are, because when they're throwing rocks to try to get the owl and hitting her house. She doesn't get all angry, she doesn't, she just goes. Please don't throw rocks. Some of them are hitting my house.

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Tad Eggleston: And they're like, Oh, we're sorry we won't do it again. Gracias!

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Maria Pena: Yeah.

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Marisol: Yep, just a sweet little.

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Tad Eggleston: Yeah, yeah. She's aware that their kids being kids, maybe they. She even knows enough about the the neighborhood.

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Maria Pena: Situation, you know.

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Tad Eggleston: Situation that she knows that they're throwing at the owl to try to help her. I mean, whatever.

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Marisol: With everything.

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Tad Eggleston: Details of the why. She doesn't think of them as anything other than kids behaving appropriately for kids.

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Marisol: Yeah, because I'm sure.

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Marisol: And should kids learn not to like that.

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Tad Eggleston: Yeah, should.

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Marisol: Of different stories. She.

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Tad Eggleston: Right.

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Marisol: Heard that he heard a lot of these things. So yeah.

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Marisol: she knows what they're just. They're just kidding.

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Tad Eggleston: Right. And should kids learn not to throw rocks randomly, absolutely. But do they need to learn that by screaming and yelling at them?

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Tad Eggleston: Oh, they can learn that by saying, Hey.

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Tad Eggleston: I know that rock throwing's fun, but you're hitting my house, and I'd prefer that you not, and they can go. Oh, sorry.

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Tad Eggleston: And you've done. Yeah.

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Marisol: And then they stopped doing it.

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Tad Eggleston: Right.

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Marisol: It's that simple. It's truly that simple.

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Tad Eggleston: Right.

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Tad Eggleston: whereas as soon as you get mad they're going to be on the defensive, and they're not going to want to learn anything. They're just gonna wanna oh, you're being mean to me, or

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Tad Eggleston: and understandably, that's not something that we actually grow out of that much like, how much better do you take it when somebody says, Hey, I really don't like that versus what the hell are you doing? Why would you do that to me?

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Maria Pena: Yeah, yeah, exactly. Yeah.

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Tad Eggleston: Yeah.

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Marisol: Much better.

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Tad Eggleston: Yeah, so good, but it also ends so sad.

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Tad Eggleston: Not.

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Marisol: Yeah.

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Tad Eggleston: Because the things that the Isabel are saying are bad.

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Tad Eggleston: but that, like it's clearly at one of Izzy's low points.

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Tad Eggleston: It's very flies on the ceiling.

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Maria Pena: I actually think she's a giant in that one, because the floor.

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Tad Eggleston: Oh, that's possible!

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Maria Pena: Well.

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Tad Eggleston: Yeah, okay.

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Tad Eggleston: Hadn't even thought about that.

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Marisol: I missed that too.

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Maria Pena: Yeah, it's like, Oh, it'll be.

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Tad Eggleston: Yeah. No.

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Marisol: Sad and depressed and naked in her house.

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Tad Eggleston: Right.

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Maria Pena: Yeah, I think she's hey? I love that. That that panel where you can see easy in the foreground, looking at the window, and she's seen her past life walk past. I think.

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Maria Pena: Funny, because, you know, I I did a comic ages ago. You know, when I still did comics, and there were, and I

359
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Maria Pena: I don't know. I wonder whether I

360
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Maria Pena: I subconsciously borrowed that. But I there were 2 people writing to each other, and they were from 2 different worlds.

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Maria Pena: and I had.

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Marisol: Good.

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Maria Pena: So it was a comic about Isabella. No

364
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Maria Pena: civil neighborhood. Oh, no! Somebody else.

365
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Maria Pena: This woman in the middle, this sort of in the 18th in the 19th century. She's in the Middle East.

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Maria Pena: And she's she's got a nephew, I think, in Australia, and they're writing to each other. And so she's in this bedroom tent and outside of the tent. She's she's writing in the foreground, or she's thinking, actually, now that I think of it. And outside there's this aboriginal kind of this scene of white people, white men displacing aboriginals.

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Maria Pena: So she's reading.

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Marisol: Hello!

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Maria Pena: And she's seeing outside of her tent. She's seeing this scene, and then he's reading her letter, and outside of his window they see some Bedouins with camels and shit, and I think, oh, this.

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Tad Eggleston: Reminding me that at some point we need to get Maria to dig up her old comics and send us scans of them, because so far I've only gotten to read one. Maria Comic. I

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Tad Eggleston: yeah, Hi bought it. I found I forget which issue I bought an issue of Fox Comics, because.

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Maria Pena: Oh, yeah.

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Tad Eggleston: One of yours.

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Maria Pena: Yeah, they weren't that good. But this one.

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Tad Eggleston: Yeah, I don't care. I paid like $25 for that issue of fox comics. So I feel like I should. I should get more of your stuff.

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Maria Pena: But pretty.

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Maria Pena: Oh.

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Tad Eggleston: Fill up.

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Maria Pena: I can scan them for sure.

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Marisol: That would be cool.

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Tad Eggleston: And then then maybe we'll do an interlude. Where? Where? Marisal and I do our, our Maria.

382
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Tad Eggleston: our Maria episode book. Yeah.

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Tad Eggleston: I mean.

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Maria Pena: Most of them I did. They were my writing so, but I guess so, you know. So they were good in that. The writing was good. The drawing was that good sometimes, but anyway.

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Tad Eggleston: Enjoying the drawing. It was, I mean, the one I read. It was. It was rough. You weren't refined, refined yet, but you had a good eye, for I mean I've seen your storyboard work, too, so I mean, I know that you've refined your work since then, but you had a good eye for storytelling and paneling. Don't don't rip yourself that much.

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Maria Pena: Yeah. Yeah. Thanks.

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Tad Eggleston: Beto. I mean, that's a high standard. Nobody's jaime or beto.

388
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Tad Eggleston: I'm amazed that I'm amazed that Jaime and Beto are still Jaime and beto.

389
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Maria Pena: Yeah.

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Marisol: That's fair.

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Tad Eggleston: Would have thought that they'd start mailing it in at some point.

392
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Maria Pena: Oh, no, that's they're still going strong.

393
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Tad Eggleston: Oh, God!

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Maria Pena: This is, who they are.

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Tad Eggleston: Yep.

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Maria Pena: No, these guys are beyond. Yeah, these are guys are, you know, they're they're a bit special.

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Tad Eggleston: Right, Marisol, are you ready for new love? Number 5, or or.

398
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Marisol: I am.

399
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Tad Eggleston: Okay.

400
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Marisol: No, I finished it.

401
00:26:59.830 --> 00:27:05.330
Marisol: Give me give me plenty of time to read through, even look at the scans of the missing pages.

402
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Tad Eggleston: That done, beared.

403
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Tad Eggleston: This is a weird cover.

404
00:27:11.070 --> 00:27:11.820
Maria Pena: Yes.

405
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Maria Pena: Why is it a weird company.

406
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Marisol: Below.

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Tad Eggleston: I don't know.

408
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Maria Pena: It's just a what are they? Wasn't that a character in the inside of the comic.

409
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Tad Eggleston: Was it.

410
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Marisol: Yeah, some some superhero lady.

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Marisol: I don't think we get much detail about her.

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Tad Eggleston: Yeah.

413
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Maria Pena: Yeah, she's just she comes through a portal into and Yeah, Hi.

414
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Maria Pena: and takes him for a trip.

415
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Tad Eggleston: Yeah, I guess weird isn't really quite the word I'm looking for.

416
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Tad Eggleston: This is not proportioned. The way that you anywhere near the way you expect somebody

417
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Tad Eggleston: in a superhero costume on the front of us. So in a lot of ways, it's a it's a powerful statement of a cover, because this is a very real female body.

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Tad Eggleston: but we're not used to seeing big hips and

419
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Tad Eggleston: big, strong legs and big, strong arms.

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Maria Pena: You know, these guys were

421
00:28:18.428 --> 00:28:26.460
Maria Pena: so ahead of their time, like, you know, now we have a lot of you know, we have the whole movement of of you know.

422
00:28:26.600 --> 00:28:31.679
Maria Pena: body, you know, the people being.

423
00:28:31.680 --> 00:28:32.010
Marisol: You ready?

424
00:28:32.010 --> 00:28:39.370
Maria Pena: Yeah, but yeah, that's right. And so these guys are like, you know, ahead as always.

425
00:28:39.370 --> 00:28:46.360
Tad Eggleston: But even that movement doesn't make it a ton into comics, and even in the places that it does, it tends to

426
00:28:46.490 --> 00:28:51.409
Tad Eggleston: do so in a very specific way. It's like, Okay.

427
00:28:51.410 --> 00:28:52.760
Maria Pena: Conscious way.

428
00:28:52.760 --> 00:28:58.650
Tad Eggleston: We'll make them built more like a top female athlete

429
00:28:59.090 --> 00:29:06.680
Tad Eggleston: rather than a Barbie doll that happens to also be able to lift small buildings.

430
00:29:07.520 --> 00:29:08.090
Marisol: Right.

431
00:29:08.486 --> 00:29:09.280
Tad Eggleston: Get out!

432
00:29:09.280 --> 00:29:16.919
Maria Pena: I mean, this is this is amazing, like representation of, you know, of larger people. So.

433
00:29:16.920 --> 00:29:17.650
Tad Eggleston: Right.

434
00:29:17.650 --> 00:29:18.179
Marisol: That's cool.

435
00:29:18.180 --> 00:29:19.269
Maria Pena: Well, and and.

436
00:29:19.270 --> 00:29:20.110
Marisol: And then also.

437
00:29:20.110 --> 00:29:20.510
Tad Eggleston: So like.

438
00:29:20.510 --> 00:29:23.410
Marisol: Not in a way where it's like a caricature.

439
00:29:23.620 --> 00:29:31.080
Tad Eggleston: No, and and you can tell that there's some fat there. But you can also tell that there's a lot of muscle there which is also true of a lot of

440
00:29:31.320 --> 00:29:32.700
Tad Eggleston: bigger people.

441
00:29:33.480 --> 00:29:36.179
Tad Eggleston: The you know my wife and I are not small.

442
00:29:36.770 --> 00:29:37.140
Maria Pena: Oh!

443
00:29:37.140 --> 00:29:38.560
Marisol: And and.

444
00:29:39.350 --> 00:29:43.710
Tad Eggleston: Is, she is massively filled with muscles.

445
00:29:43.950 --> 00:29:51.640
Tad Eggleston: you know. I mean she's the one that when when she's lifting weights, you know, has to take the weights off afterwards, because they intimidate the guys around there.

446
00:29:52.170 --> 00:29:53.130
Maria Pena: I love that.

447
00:29:54.780 --> 00:30:06.140
Tad Eggleston: Yes, yes, please, please don't leave that much weight on the leg press because I couldn't budget, you know.

448
00:30:07.520 --> 00:30:12.750
Tad Eggleston: Please don't leave that much on the Barbell. I can't deadlift that.

449
00:30:13.750 --> 00:30:14.400
Tad Eggleston: Yeah.

450
00:30:15.153 --> 00:30:17.406
Marisol: I will hurt myself.

451
00:30:17.970 --> 00:30:19.940
Tad Eggleston: Thankfully. She's now learned

452
00:30:20.410 --> 00:30:27.630
Tad Eggleston: her strength early in our relationship. She did not know her strength that well, and I got tossed around a lot.

453
00:30:28.820 --> 00:30:31.280
Marisol: That's amazing and hilarious.

454
00:30:31.280 --> 00:30:39.429
Tad Eggleston: Thought where she thought that she was just like I mean the one I remember the 2 I remember the most once, like

455
00:30:39.920 --> 00:30:48.170
Tad Eggleston: we were. We were dancing. We were at her parents house, and there's like a queen size bed in a room that didn't have a lot more room

456
00:30:48.950 --> 00:30:57.689
Tad Eggleston: than like the Queen size bed. So we're kind of dancing around each other trying to get our suitcases out of the way. That sort of thing. And she got frustrated. She just took me and

457
00:30:57.840 --> 00:31:01.930
Tad Eggleston: threw me towards the bed to get me out of the way.

458
00:31:05.570 --> 00:31:14.900
Tad Eggleston: And she thought she was just doing like the the basic thing, and she hears this crash and she looks over, and I've gone all the way across the bed and down onto the floor.

459
00:31:15.200 --> 00:31:21.150
Tad Eggleston: It's just like, don't be so dramatic, and I'm like I'm not being dramatic.

460
00:31:24.370 --> 00:31:25.600
Tad Eggleston: And then the.

461
00:31:25.600 --> 00:31:29.150
Marisol: No, I did not move myself this way. You moved me this.

462
00:31:29.150 --> 00:31:33.240
Tad Eggleston: Right, right you! You just threw me across the bed.

463
00:31:33.650 --> 00:31:53.700
Tad Eggleston: Then there was another time where I was on the couch, and I had a blanket on top of me, and a blanket like kind of underneath me and wrapped around me, and she decided that I was hogging the blanket. She's like you don't need 2 blankets. I'm going to grab a blanket, and she took the one that happened to be mostly under me because she didn't realize that it was mostly under me, and when she pulled it

464
00:31:53.820 --> 00:31:57.830
Tad Eggleston: she spun me around and I fell face down onto the floor.

465
00:31:59.010 --> 00:32:00.180
Marisol: Alrighty!

466
00:32:02.670 --> 00:32:03.870
Marisol: My goodness.

467
00:32:03.870 --> 00:32:11.960
Tad Eggleston: So so now she's much better at like pulling her punches when she decides that she needs to hit me in the shoulder or whatnot early in the relationship.

468
00:32:11.960 --> 00:32:12.989
Tad Eggleston: She'd be like.

469
00:32:12.990 --> 00:32:18.809
Tad Eggleston: where did you get that bruise? And I'm like, well, I think I correct a joke 2 days ago, and you hit me in the arm.

470
00:32:19.719 --> 00:32:20.319
Maria Pena: Yeah.

471
00:32:22.840 --> 00:32:26.209
Marisol: And it was so funny. And then, now I have a bruise.

472
00:32:26.690 --> 00:32:34.050
Tad Eggleston: Right, or more likely it was not funny at all. And you were like you, Dork.

473
00:32:34.276 --> 00:32:35.975
Tad Eggleston: And now I have a Bruce.

474
00:32:37.724 --> 00:32:42.460
Tad Eggleston: so I have a great appreciation for this cover. But it's not

475
00:32:43.180 --> 00:32:47.779
Tad Eggleston: yeah. Weird was the wrong word. It wasn't how I meant it.

476
00:32:47.900 --> 00:32:50.250
Tad Eggleston: But it's it's also very.

477
00:32:51.760 --> 00:32:54.920
Tad Eggleston: I mean different, because it's like a batman type. Cape.

478
00:32:57.250 --> 00:32:57.690
Tad Eggleston: And.

479
00:32:57.690 --> 00:32:59.625
Maria Pena: And all flash

480
00:33:00.110 --> 00:33:02.819
Tad Eggleston: Right? Old old flash. Yeah.

481
00:33:03.980 --> 00:33:06.130
Maria Pena: And so it's all kind of.

482
00:33:06.130 --> 00:33:11.120
Tad Eggleston: So it's it's got Remini. It's got reminiscence of so many things you just expect.

483
00:33:11.120 --> 00:33:11.870
Maria Pena: Cheryl.

484
00:33:12.880 --> 00:33:13.480
Tad Eggleston: Right.

485
00:33:14.000 --> 00:33:17.109
Maria Pena: The the hair, and coming out of the back of the.

486
00:33:17.470 --> 00:33:18.210
Tad Eggleston: Right.

487
00:33:18.640 --> 00:33:19.490
Maria Pena: Damask and.

488
00:33:19.490 --> 00:33:26.500
Marisol: The back of the yeah, the gloves, the little namor looking wing suits.

489
00:33:26.500 --> 00:33:27.010
Tad Eggleston: Yeah.

490
00:33:27.010 --> 00:33:27.610
Maria Pena: Yeah.

491
00:33:28.270 --> 00:33:28.870
Tad Eggleston: Yeah.

492
00:33:29.600 --> 00:33:36.339
Tad Eggleston: Well, for that matter, the small ankles that's something that I've never been able to figure out. How? How do so many

493
00:33:36.450 --> 00:33:46.220
Tad Eggleston: women with big, huge, strong legs, where it's even like more muscle than than fat on their legs, still have teeny, tiny feet.

494
00:33:46.745 --> 00:33:48.989
Tad Eggleston: How does that work so like.

495
00:33:50.640 --> 00:33:52.740
Marisol: Strange Phenomenon.

496
00:33:53.790 --> 00:34:00.469
Maria Pena: Just I don't get how it works, except that there aren't muscles to build up. I guess.

497
00:34:01.110 --> 00:34:05.570
Tad Eggleston: But maybe but it is. It is one of the the

498
00:34:06.720 --> 00:34:10.700
Tad Eggleston: oddest things that you'll see in nature is is the

499
00:34:12.340 --> 00:34:27.260
Tad Eggleston: the the woman who has the the again strong legs you'll see it with sometimes with soccer players, with with basketball players, certainly with weightlifters, and any woman who has those strong, powerful legs.

500
00:34:28.300 --> 00:34:33.179
Tad Eggleston: still so often seems to have, like

501
00:34:33.739 --> 00:34:37.590
Tad Eggleston: dainty ankles and size, 7 feet.

502
00:34:38.480 --> 00:34:39.030
Marisol: Hmm.

503
00:34:39.815 --> 00:34:45.610
Tad Eggleston: You know, men who have those legs have like size, 22 shoes.

504
00:34:46.000 --> 00:34:46.830
Maria Pena: Right. It's like.

505
00:34:46.830 --> 00:34:47.590
Marisol: Oh, Jesus is correct.

506
00:34:47.590 --> 00:34:49.939
Tad Eggleston: And their ankles are tree trunks.

507
00:34:52.460 --> 00:34:57.220
Marisol: Like. I even just look at myself like I got. I got some pretty beefy calves and

508
00:34:57.350 --> 00:35:02.349
Marisol: smaller ankles, and I, my shoe size is like 8, 8 and a half.

509
00:35:02.490 --> 00:35:02.990
Tad Eggleston: Right.

510
00:35:02.990 --> 00:35:03.530
Maria Pena: Hmm.

511
00:35:04.640 --> 00:35:06.260
Marisol: I have some smaller feet.

512
00:35:06.550 --> 00:35:12.460
Tad Eggleston: It is. It is one of the odd quirks of nature.

513
00:35:12.880 --> 00:35:13.240
Maria Pena: Oh!

514
00:35:13.600 --> 00:35:15.970
Marisol: And it's cool that they noticed it enough after.

515
00:35:15.970 --> 00:35:17.559
Tad Eggleston: Draw it, and draw it well.

516
00:35:18.400 --> 00:35:18.850
Marisol: Yeah.

517
00:35:18.850 --> 00:35:19.410
Maria Pena: Yeah.

518
00:35:19.410 --> 00:35:28.090
Tad Eggleston: Because again, like, I think, unless you're really paying attention to to

519
00:35:29.590 --> 00:35:40.789
Tad Eggleston: zoom in that level, to taper off that much in drawing probably wouldn't feel quite right unless you've known that person and noticed that trait.

520
00:35:43.370 --> 00:35:44.230
Tad Eggleston: That make sense.

521
00:35:45.400 --> 00:35:46.270
Marisol: Yeah.

522
00:35:47.640 --> 00:35:51.800
Maria Pena: Yeah, or it was a design decision, anyway.

523
00:35:51.920 --> 00:35:53.520
Tad Eggleston: Well, yeah, I guess.

524
00:35:53.520 --> 00:35:54.610
Maria Pena: Could be.

525
00:35:54.610 --> 00:36:00.399
Tad Eggleston: But but it feels like a weird design decision, unless it's based on the reality

526
00:36:00.760 --> 00:36:06.190
Tad Eggleston: to to. I mean because it does, it take it tapers off so much down to the ankle.

527
00:36:06.190 --> 00:36:09.079
Maria Pena: Turning where it's you know it.

528
00:36:10.360 --> 00:36:18.109
Maria Pena: Feet tapering down, you know, like big, huge feet wouldn't look that good. There, right? That's.

529
00:36:18.110 --> 00:36:18.640
Marisol: True.

530
00:36:19.160 --> 00:36:19.850
Maria Pena: Speed point.

531
00:36:19.850 --> 00:36:21.469
Marisol: It would look disproportionate.

532
00:36:21.930 --> 00:36:28.140
Maria Pena: Yeah, and her hands are small and her feet are small and her waist is small, and it's a shape.

533
00:36:29.580 --> 00:36:30.220
Maria Pena: So.

534
00:36:31.770 --> 00:36:34.340
Tad Eggleston: All right, love.

535
00:36:37.310 --> 00:36:38.170
Marisol: Yeah, that's it.

536
00:36:38.170 --> 00:36:39.610
Tad Eggleston: The crying woman.

537
00:36:40.900 --> 00:36:48.310
Maria Pena: Yeah, I didn't know the legend, I mean, I knew about La Llorona, but I I didn't know. You know. I didn't know that

538
00:36:48.730 --> 00:36:52.849
Maria Pena: what the story was I vaguely knew.

539
00:36:52.850 --> 00:36:58.870
Tad Eggleston: Yeah, I I did. I don't. I don't know if I heard a version that was quite this.

540
00:36:59.160 --> 00:37:00.480
Maria Pena: Oh, no, obviously.

541
00:37:02.240 --> 00:37:07.250
Tad Eggleston: But but specifically it's 1 of the the

542
00:37:07.600 --> 00:37:12.449
Tad Eggleston: folk tales that Michael Chabon used in Summerland.

543
00:37:12.580 --> 00:37:23.949
Tad Eggleston: which is one of my favorite books of his. It's his young adult novel, and it's centered around baseball and and a traveling baseball team that goes into the Summerlands, which is essentially like.

544
00:37:25.080 --> 00:37:32.239
Tad Eggleston: get get through like a rift, in reality to get to the place where all the fables are real.

545
00:37:32.710 --> 00:37:33.210
Maria Pena: Don't!

546
00:37:35.140 --> 00:37:36.240
Tad Eggleston: And and

547
00:37:36.410 --> 00:37:50.429
Tad Eggleston: the La Llorona was in that. That was the 1st place that I'd heard of her. But as I was reading this, and knowing that Michael Chabon is a comic guy, I'm sitting there going. I wonder if this was Michael Chabon's first.st

548
00:37:52.060 --> 00:37:52.610
Marisol: Well.

549
00:37:52.610 --> 00:37:53.030
Maria Pena: Yeah, maybe.

550
00:37:53.030 --> 00:37:55.780
Maria Pena: Or if it a pretty famous Mexican.

551
00:37:55.780 --> 00:37:56.350
Tad Eggleston: Right.

552
00:37:56.350 --> 00:37:57.940
Maria Pena: You know, legends so.

553
00:37:57.940 --> 00:37:58.860
Tad Eggleston: Absolutely.

554
00:37:58.860 --> 00:38:03.800
Maria Pena: Oh, Latin America. Yeah, it's it's Latin America, because we all knew it.

555
00:38:04.150 --> 00:38:04.760
Tad Eggleston: Right.

556
00:38:05.080 --> 00:38:08.490
Tad Eggleston: He's the right age to have been reading this comic at.

557
00:38:10.190 --> 00:38:10.899
Maria Pena: Yeah one with her.

558
00:38:10.900 --> 00:38:11.430
Tad Eggleston: A time where.

559
00:38:11.430 --> 00:38:11.860
Maria Pena: Yeah.

560
00:38:12.490 --> 00:38:13.870
Tad Eggleston: You know, and from.

561
00:38:13.870 --> 00:38:15.199
Maria Pena: Upstate new York.

562
00:38:15.200 --> 00:38:15.820
Tad Eggleston: Not.

563
00:38:16.310 --> 00:38:22.310
Tad Eggleston: Oh, I'm certain he didn't base it on that. He's known for his, you know.

564
00:38:22.550 --> 00:38:23.770
Tad Eggleston: Research.

565
00:38:24.220 --> 00:38:24.920
Maria Pena: Okay. Good.

566
00:38:26.786 --> 00:38:27.760
Tad Eggleston: And I.

567
00:38:27.760 --> 00:38:30.240
Maria Pena: I mean, this was brutal man, this.

568
00:38:30.240 --> 00:38:35.699
Tad Eggleston: Yeah, no, I don't remember his version being this brutal. I didn't go pick it up.

569
00:38:36.050 --> 00:38:39.259
Tad Eggleston: I just. I'm always curious as to how.

570
00:38:40.310 --> 00:38:47.379
Tad Eggleston: particularly in works like that, where where he took from native American mythology, and he took from

571
00:38:47.810 --> 00:38:53.749
Tad Eggleston: Norse mythology, and he took from all all sorts of

572
00:38:53.980 --> 00:39:15.240
Tad Eggleston: folk, tales and myths and legends and whatnot, and kind of kind of use them in the, you know. You obviously don't use them all. So I'm always curious as to how, how they pick specific ones. Did he actually go dive into all sorts of Mexican, Central American, and South American

573
00:39:15.450 --> 00:39:26.430
Tad Eggleston: folklore and pick out specific stories? Or did he already know this folk tale? And it wound up, working its way into the book because he knew it already.

574
00:39:26.760 --> 00:39:28.219
Tad Eggleston: Does that make sense.

575
00:39:28.620 --> 00:39:29.250
Maria Pena: Yep.

576
00:39:29.580 --> 00:39:30.430
Marisol: Yeah.

577
00:39:30.430 --> 00:39:35.580
Tad Eggleston: I, just I. That's that's the way I think, as a writer is like

578
00:39:35.710 --> 00:39:41.119
Tad Eggleston: how much comes from from research and getting added in because of the research. And how much

579
00:39:41.380 --> 00:39:52.500
Tad Eggleston: do you research? Because it was already in the back of your head? And you went? Oh, this could fit into my world, and if it was already in the back of your head, why was it already in the back of your head?

580
00:39:52.860 --> 00:39:53.510
Maria Pena: Yeah. Yeah.

581
00:39:53.510 --> 00:39:53.920
Maria Pena: Yes.

582
00:39:53.920 --> 00:39:55.140
Tad Eggleston: I'd like to.

583
00:39:55.880 --> 00:40:03.170
Tad Eggleston: I never think bibliographies have enough, because, like, it's not just the stuff that you cite.

584
00:40:04.320 --> 00:40:10.430
Tad Eggleston: What are the 5 books that you read that made you ask this question.

585
00:40:12.640 --> 00:40:14.540
Tad Eggleston: That's how my brain works.

586
00:40:14.540 --> 00:40:17.520
Marisol: You want the full process of how you got from A to B.

587
00:40:19.160 --> 00:40:23.210
Tad Eggleston: And I, and it doesn't have to be. I don't want it to be a straight line.

588
00:40:27.300 --> 00:40:30.710
Marisol: And you're all mine has got some twists and turns in it.

589
00:40:30.870 --> 00:40:33.610
Tad Eggleston: Yeah, I love this triptych at the bottom.

590
00:40:34.530 --> 00:40:45.449
Tad Eggleston: you know where she goes from being happy to happy. But now she's starting to kind of think about where the kids might be.

591
00:40:46.950 --> 00:40:54.680
Tad Eggleston: To oh, and dancing and thinking about those kids.

592
00:40:55.860 --> 00:40:56.750
Maria Pena: Yeah.

593
00:40:57.550 --> 00:40:58.440
Maria Pena: Oh, that was.

594
00:40:58.440 --> 00:41:01.099
Marisol: It's like those 2 middle panels there are frightening.

595
00:41:01.250 --> 00:41:01.890
Tad Eggleston: Yeah.

596
00:41:03.410 --> 00:41:06.880
Marisol: You're just throwing the bag in into the water.

597
00:41:07.360 --> 00:41:08.020
Tad Eggleston: Yep.

598
00:41:11.070 --> 00:41:12.299
Tad Eggleston: She looks almost like.

599
00:41:12.300 --> 00:41:13.340
Marisol: Great, straight through.

600
00:41:13.340 --> 00:41:14.660
Tad Eggleston: In the middle. Here, too.

601
00:41:15.990 --> 00:41:16.590
Marisol: Yeah.

602
00:41:16.590 --> 00:41:18.829
Maria Pena: Oh, yeah, I mean, that's.

603
00:41:19.300 --> 00:41:20.290
Tad Eggleston: And they they.

604
00:41:20.290 --> 00:41:29.799
Maria Pena: So, you know you'll get. She got her retribution when she got like she lived a life of partying and whatever she got rid of the kids, but when she got there

605
00:41:29.910 --> 00:41:32.810
Maria Pena: when she died, went to heaven.

606
00:41:33.600 --> 00:41:35.829
Maria Pena: you know she she gets ripped to pieces.

607
00:41:35.830 --> 00:41:37.720
Tad Eggleston: She got dismembered.

608
00:41:38.030 --> 00:41:42.410
Maria Pena: Yeah, all right.

609
00:41:42.410 --> 00:41:44.590
Maria Pena: Wanders through through earth.

610
00:41:45.670 --> 00:41:46.610
Maria Pena: Oh.

611
00:41:46.780 --> 00:41:52.089
Tad Eggleston: Before I say anything on this next story, I want to hear other people's takes.

612
00:41:54.990 --> 00:41:58.850
Tad Eggleston: Cause. Mine is possibly completely off

613
00:41:58.990 --> 00:42:05.439
Tad Eggleston: and or completely on. But if it's completely on, I want to see if anybody else noticed it.

614
00:42:06.970 --> 00:42:09.530
Maria Pena: I am not sure.

615
00:42:09.530 --> 00:42:10.700
Marisol: If you try this one.

616
00:42:11.000 --> 00:42:13.510
Maria Pena: I think. I wonder if

617
00:42:13.870 --> 00:42:17.689
Maria Pena: if the title Heroin has anything to do with

618
00:42:18.550 --> 00:42:21.309
Maria Pena: with it? Like, does it? Is it?

619
00:42:21.440 --> 00:42:24.190
Maria Pena: It's like a love poem or a love

620
00:42:24.310 --> 00:42:27.249
Maria Pena: like, you know the Psalms in the Bible.

621
00:42:27.250 --> 00:42:28.090
Marisol: Online.

622
00:42:28.870 --> 00:42:32.319
Maria Pena: Some kind of love poem to God, but it also could be.

623
00:42:32.650 --> 00:42:36.939
Maria Pena: could be, a love for him, to a loved one, to a lover.

624
00:42:38.060 --> 00:42:39.040
Tad Eggleston: The.

625
00:42:39.040 --> 00:42:43.869
Maria Pena: It's kind of a bit like that. But in heroin is it about heroin?

626
00:42:43.870 --> 00:42:44.250
Marisol: Take.

627
00:42:44.250 --> 00:42:49.540
Tad Eggleston: Yeah. Well, I mean, that's as the spelling bee geek.

628
00:42:49.970 --> 00:42:55.089
Tad Eggleston: at least for a while. When I was young. The 1st thing I noticed is no E on the end.

629
00:42:55.090 --> 00:43:00.910
Tad Eggleston: Yes, so I couldn't help but reading it as like, is this a drug trip?

630
00:43:01.250 --> 00:43:08.390
Tad Eggleston: Because it's it's it's like talking about? Oh, I feel so good! And then it goes away.

631
00:43:08.390 --> 00:43:14.869
Marisol: Yeah. And not only that, it. It tripped me up that what the words were.

632
00:43:15.380 --> 00:43:15.790
Tad Eggleston: Don't go!

633
00:43:15.790 --> 00:43:16.800
Marisol: My mind at all

634
00:43:16.800 --> 00:43:24.000
Marisol: with the pictures at all, and that's what confused the hell out of me, because I'm like, what? What do any of these words. Any of these

635
00:43:24.210 --> 00:43:29.620
Marisol: text boxes have to do with this combat that's happening.

636
00:43:29.900 --> 00:43:35.720
Tad Eggleston: With him also made me feel like it was possibly a

637
00:43:36.400 --> 00:43:44.119
Tad Eggleston: allegorical things. So he's like, you know, whoever's doing the heroin here is in

638
00:43:44.480 --> 00:43:52.130
Tad Eggleston: like a dreamlike trance state, and I'm the hero, and I can do everything and whatnot. But then I come down.

639
00:43:53.360 --> 00:43:59.580
Marisol: Yeah, see? That's what I thought. But I wasn't sure if that made sense cause like, just from the

640
00:43:59.580 --> 00:44:00.280
Marisol: oh.

641
00:44:00.280 --> 00:44:09.030
Marisol: being heroin, my initial initial thought, especially because after reading these panels, the text and the images don't match.

642
00:44:09.030 --> 00:44:17.170
Tad Eggleston: Then, like I had to go researching to see if if there was reason to believe that it should have had an E,

643
00:44:18.190 --> 00:44:27.719
Tad Eggleston: but like if this is an archaic spelling, and and that it can be used for both heroin and a heroin.

644
00:44:28.610 --> 00:44:29.040
Maria Pena: Oh!

645
00:44:29.040 --> 00:44:29.880
Marisol: Yeah.

646
00:44:30.487 --> 00:44:35.379
Tad Eggleston: But but I didn't see any indication that that's really a thing.

647
00:44:36.420 --> 00:44:37.090
Tad Eggleston: And

648
00:44:37.410 --> 00:44:46.569
Tad Eggleston: and then it becomes more complicated because the last story is also called heroin, and I had I had more trouble.

649
00:44:46.990 --> 00:44:52.790
Tad Eggleston: I mean that one. How about how about this? And this is this is kind of weird that one I felt like

650
00:44:53.450 --> 00:45:01.460
Tad Eggleston: what we looked at made way. More sense, like the images made way, more sense for heroin.

651
00:45:01.630 --> 00:45:06.730
Tad Eggleston: But the story it's I wasn't, it wasn't sure.

652
00:45:07.090 --> 00:45:10.620
Tad Eggleston: So like, yeah.

653
00:45:12.840 --> 00:45:14.409
Maria Pena: Yeah, that one was weird.

654
00:45:14.410 --> 00:45:18.820
Tad Eggleston: This is. This is one to to ask Gilbert about if we ever have him back.

655
00:45:19.400 --> 00:45:19.780
Maria Pena: Yeah.

656
00:45:19.780 --> 00:45:24.020
Tad Eggleston: Because, yeah.

657
00:45:24.650 --> 00:45:25.839
Tad Eggleston: And then there's what I.

658
00:45:25.840 --> 00:45:26.190
Marisol: Bear.

659
00:45:26.190 --> 00:45:33.730
Tad Eggleston: Wasn't. I hope he wasn't on heroin while he was doing it, and just called it that.

660
00:45:34.250 --> 00:45:41.150
Maria Pena: And the words in this here the 1st harrowing story is somewhat is basically unrequited. Love. You.

661
00:45:41.150 --> 00:45:41.590
Tad Eggleston: Right.

662
00:45:42.380 --> 00:45:45.779
Maria Pena: But I mean that could be.

663
00:45:45.780 --> 00:45:50.829
Tad Eggleston: Relationship with a drug that made you really happy until you crashed.

664
00:45:51.140 --> 00:45:55.760
Marisol: Hmm, hmm, yeah, that makes sense.

665
00:45:56.515 --> 00:45:56.840
Marisol: Okay.

666
00:45:57.403 --> 00:45:58.530
Tad Eggleston: So yeah.

667
00:45:59.330 --> 00:46:03.339
Tad Eggleston: But that family thing, letters from Venus was much.

668
00:46:03.340 --> 00:46:03.680
Maria Pena: Yeah.

669
00:46:05.120 --> 00:46:05.870
Tad Eggleston: Much more.

670
00:46:05.870 --> 00:46:11.040
Maria Pena: Yeah. So they go go to this weird you know, health.

671
00:46:11.040 --> 00:46:16.280
Tad Eggleston: And and good that Andy didn't join us, because he he would only talk about the boobs.

672
00:46:20.760 --> 00:46:23.289
Tad Eggleston: There, there's my shout out to you, Andy.

673
00:46:27.040 --> 00:46:28.060
Marisol: Moo.

674
00:46:28.400 --> 00:46:30.379
Tad Eggleston: Almost every level being.

675
00:46:32.840 --> 00:46:39.040
Maria Pena: The room that gets stolen that was really weird was like, What is that?

676
00:46:39.490 --> 00:46:40.240
Maria Pena: Peace.

677
00:46:40.240 --> 00:46:40.579
Marisol: But it was.

678
00:46:40.580 --> 00:46:41.840
Tad Eggleston: Object.

679
00:46:41.840 --> 00:46:44.010
Marisol: Like, what kind of.

680
00:46:44.010 --> 00:46:44.340
Maria Pena: I was.

681
00:46:44.340 --> 00:46:49.647
Marisol: Flared. Base little Bobo T. Ball, looking butt plug! Is this.

682
00:46:51.320 --> 00:46:52.500
Tad Eggleston: The family.

683
00:46:52.500 --> 00:46:56.110
Marisol: It's apparently a good luck charm. Yeah, it's.

684
00:46:56.110 --> 00:47:02.150
Tad Eggleston: It's what it's what gorgo gave them as their good luck charm until

685
00:47:03.790 --> 00:47:05.969
Tad Eggleston: it it would keep them safe.

686
00:47:05.970 --> 00:47:07.549
Marisol: No, he never came up for it.

687
00:47:09.230 --> 00:47:13.670
Marisol: That's true, they say. I think that's the end of the the story, that he never came back.

688
00:47:13.670 --> 00:47:16.040
Tad Eggleston: That's but that's what he said is is he? Was.

689
00:47:16.370 --> 00:47:16.940
Marisol: Yeah.

690
00:47:16.940 --> 00:47:19.079
Tad Eggleston: We keep them safe until he came back for it.

691
00:47:20.900 --> 00:47:23.479
Maria Pena: And then that point, they would no longer need it.

692
00:47:23.900 --> 00:47:27.830
Tad Eggleston: I also love how how? Totally

693
00:47:28.760 --> 00:47:34.600
Tad Eggleston: totally childlike, the the initial writing is the the

694
00:47:38.210 --> 00:47:38.550
Maria Pena: Well, then.

695
00:47:38.550 --> 00:47:43.740
Tad Eggleston: This is all about the family thing I told you about includes grandmother, who you never.

696
00:47:44.040 --> 00:47:54.240
Tad Eggleston: never met, because she got a brain to her Rtfritzy and my mom before she got her breast reduction. Okay, I mentioned that last part because you are a girl. Okay?

697
00:47:54.460 --> 00:47:56.569
Tad Eggleston: So here's the story of it all.

698
00:48:02.430 --> 00:48:04.860
Marisol: I love. I love letters from Venus.

699
00:48:04.860 --> 00:48:12.259
Tad Eggleston: I do, I do. I adore them, and and I can't remember if we ever get any letters back

700
00:48:12.500 --> 00:48:13.400
Tad Eggleston: from.

701
00:48:14.700 --> 00:48:15.720
Maria Pena: The cousin.

702
00:48:15.720 --> 00:48:16.940
Marisol: From Kakibara.

703
00:48:17.320 --> 00:48:27.080
Tad Eggleston: Right, Casimira, but but I hope that we do, because, like they are 2 of my favorite

704
00:48:31.340 --> 00:48:33.490
Marisol: They're they're just keeping these in a pod.

705
00:48:33.800 --> 00:48:37.990
Tad Eggleston: Yeah, yeah, yeah.

706
00:48:39.160 --> 00:48:43.189
Marisol: They're so ridiculous together. But it's it's a lot of fun.

707
00:48:43.590 --> 00:48:46.720
Maria Pena: Man. Petra had enormous boobs, didn't she? Before her reduction.

708
00:48:46.720 --> 00:48:47.850
Tad Eggleston: Oh, yeah. Yeah. Yeah.

709
00:48:47.850 --> 00:48:48.280
Marisol: Oh, yeah.

710
00:48:48.280 --> 00:48:51.550
Tad Eggleston: I love this little guy with the suitcases.

711
00:48:52.600 --> 00:48:54.320
Maria Pena: Suitcases.

712
00:48:56.140 --> 00:48:56.710
Maria Pena: We shorten.

713
00:48:58.730 --> 00:49:00.709
Tad Eggleston: In between Petra and.

714
00:49:00.710 --> 00:49:01.240
Maria Pena: I.

715
00:49:01.240 --> 00:49:03.300
Tad Eggleston: Maria, just.

716
00:49:03.900 --> 00:49:06.860
Maria Pena: He looks like like Sluggo.

717
00:49:06.970 --> 00:49:11.379
Tad Eggleston: Yeah, a little bit like a with a with a human body.

718
00:49:12.150 --> 00:49:12.830
Tad Eggleston: Right?

719
00:49:16.670 --> 00:49:18.110
Maria Pena: Hello, yeah.

720
00:49:18.250 --> 00:49:24.439
Maria Pena: So it's a little nod to different comic old classic comic characters here.

721
00:49:24.440 --> 00:49:24.865
Tad Eggleston: Yeah.

722
00:49:25.290 --> 00:49:26.470
Maria Pena: Occasionally.

723
00:49:28.520 --> 00:49:42.100
Tad Eggleston: And yeah, no, I mean Maria and and Fritz are well endowed, and Petra is, she's significantly larger.

724
00:49:43.100 --> 00:49:43.560
Marisol: Yeah.

725
00:49:43.560 --> 00:49:44.210
Maria Pena: Yeah.

726
00:49:46.460 --> 00:49:49.740
Marisol: I mean no surprise. Poor woman! Got a reduction. Jesus.

727
00:49:49.740 --> 00:49:50.340
Tad Eggleston: Yeah.

728
00:49:51.260 --> 00:49:53.129
Marisol: And she was having back problems.

729
00:49:53.950 --> 00:49:54.640
Tad Eggleston: Hmm.

730
00:49:55.460 --> 00:49:56.200
Maria Pena: Yeah.

731
00:49:57.750 --> 00:50:03.019
Marisol: And I just find it funny. The little comment Petra made about about her sister being under like those

732
00:50:03.350 --> 00:50:07.360
Marisol: sun lamps and not getting much of a tan.

733
00:50:09.280 --> 00:50:16.009
Marisol: He's not from the future like colored covers. We see Fritz is very, very pale.

734
00:50:16.010 --> 00:50:16.400
Tad Eggleston: Pale.

735
00:50:16.400 --> 00:50:18.070
Maria Pena: Yes, that's right.

736
00:50:18.585 --> 00:50:19.499
Tad Eggleston: I loved what.

737
00:50:19.500 --> 00:50:21.489
Maria Pena: If anything, she would go red.

738
00:50:21.740 --> 00:50:23.300
Tad Eggleston: Where is?

739
00:50:24.750 --> 00:50:26.899
Marisol: Get a little lobster burned.

740
00:50:27.210 --> 00:50:27.920
Maria Pena: Yeah.

741
00:50:28.270 --> 00:50:36.299
Tad Eggleston: I love Fritz's response. It's not for tanning. They're for improving circulation, eliminating acne and.

742
00:50:37.870 --> 00:50:42.730
Maria Pena: If any conservative learning leanings.

743
00:50:42.940 --> 00:50:43.610
Tad Eggleston: Leading.

744
00:50:44.760 --> 00:50:45.270
Maria Pena: Okay.

745
00:50:48.610 --> 00:50:51.819
Maria Pena: that was yeah. I didn't notice that line no.

746
00:50:52.910 --> 00:50:58.039
Maria Pena: so hard to read Fritzy's dialogue. You have to kind of read it out loud. Otherwise.

747
00:50:58.500 --> 00:50:59.210
Marisol: Yeah.

748
00:50:59.210 --> 00:51:04.499
Tad Eggleston: Kind of that's like kind of like it better when she gets to the point where he.

749
00:51:05.130 --> 00:51:07.440
Tad Eggleston: the lisp, only comes out

750
00:51:07.690 --> 00:51:15.119
Tad Eggleston: when she's stressed, not because I have a problem with the lisp, but because it's so much easier to read without it.

751
00:51:15.470 --> 00:51:16.290
Maria Pena: Yeah, yeah.

752
00:51:18.820 --> 00:51:25.430
Maria Pena: So the guy steals the the butt plug, and then they go and then wins. The lottery

753
00:51:25.430 --> 00:51:27.280
Maria Pena: lies it, and then wins the lottery.

754
00:51:27.280 --> 00:51:28.669
Tad Eggleston: Yeah, when's the lot?

755
00:51:29.007 --> 00:51:30.020
Tad Eggleston: How are you?

756
00:51:30.140 --> 00:51:32.919
Maria Pena: Returns the butt plug home. Yeah.

757
00:51:32.920 --> 00:51:33.969
Tad Eggleston: Yep. Yep.

758
00:51:34.250 --> 00:51:37.260
Maria Pena: Obviously didn't got him luck, and then he didn't need any more.

759
00:51:37.260 --> 00:51:37.940
Marisol: Do.

760
00:51:41.170 --> 00:51:45.109
Tad Eggleston: I love that she's essentially using Venus as her.

761
00:51:45.390 --> 00:51:48.359
Maria Pena: Weights, weight on, on the.

762
00:51:48.710 --> 00:51:50.060
Tad Eggleston: Last panel.

763
00:51:50.280 --> 00:51:51.280
Maria Pena: Yeah.

764
00:51:53.790 --> 00:51:54.590
Maria Pena: Hmm.

765
00:51:55.500 --> 00:52:00.199
Tad Eggleston: This one was adorable, but I didn't.

766
00:52:00.200 --> 00:52:00.910
Maria Pena: Heroin.

767
00:52:01.620 --> 00:52:03.760
Maria Pena: There's a page.

768
00:52:03.760 --> 00:52:05.129
Marisol: No, it's after this one.

769
00:52:06.120 --> 00:52:09.020
Tad Eggleston: There's is there another one page, heroine.

770
00:52:09.350 --> 00:52:10.690
Maria Pena: Yeah. Oh.

771
00:52:10.690 --> 00:52:13.039
Tad Eggleston: Oh, see! There were more.

772
00:52:13.040 --> 00:52:13.380
Maria Pena: Which is.

773
00:52:13.380 --> 00:52:14.270
Tad Eggleston: Missing.

774
00:52:14.270 --> 00:52:15.300
Maria Pena: Jeez whoever.

775
00:52:15.300 --> 00:52:16.130
Marisol: No, no.

776
00:52:16.130 --> 00:52:17.250
Tad Eggleston: Yeah, and I really miss.

777
00:52:17.890 --> 00:52:25.680
Maria Pena: Phone. Oh, I don't have it. Oh, yeah, dude. I'll send it to you because it's really weird, because it looks. It's a very strange little strip.

778
00:52:26.620 --> 00:52:28.900
Tad Eggleston: So there were 3 heroines.

779
00:52:29.240 --> 00:52:29.930
Maria Pena: Yeah.

780
00:52:31.831 --> 00:52:35.200
Maria Pena: Okay, let me just email it to you

781
00:52:36.190 --> 00:52:39.320
Maria Pena: very quickly. You can put it up on screen.

782
00:52:40.120 --> 00:52:42.440
Maria Pena: I'll send it to your gmail.

783
00:52:42.970 --> 00:52:43.530
Tad Eggleston: Okay.

784
00:52:44.900 --> 00:52:45.870
Maria Pena: Page.

785
00:52:49.480 --> 00:52:51.135
Maria Pena: Okay, it's

786
00:52:55.450 --> 00:53:00.260
Maria Pena: it's really weird. It's a weird little huh!

787
00:53:00.820 --> 00:53:02.650
Maria Pena: Hate that. I destroyed it.

788
00:53:03.100 --> 00:53:04.320
Maria Pena: Let me just got water.

789
00:53:08.160 --> 00:53:09.010
Maria Pena: You got it there.

790
00:53:09.010 --> 00:53:13.170
Tad Eggleston: It's got. It's got to come to me any day. Now.

791
00:53:13.390 --> 00:53:14.290
Tad Eggleston: Anything.

792
00:53:14.290 --> 00:53:15.950
Tad Eggleston: There we go. Paige.

793
00:53:19.350 --> 00:53:20.470
Tad Eggleston: Okay.

794
00:53:20.800 --> 00:53:29.499
Tad Eggleston: of course, right now it's coming up way too big. So I'm gonna have to. Now, it's okay. I will save the image

795
00:53:29.830 --> 00:53:35.260
Tad Eggleston: so that I can open it in a different

796
00:53:35.580 --> 00:53:40.239
Tad Eggleston: program. That will allow me to resize it more.

797
00:53:42.000 --> 00:53:42.650
Marisol: Nice.

798
00:53:45.100 --> 00:53:45.490
Maria Pena: Thank you.

799
00:53:45.490 --> 00:53:48.480
Tad Eggleston: Difficulties. Everybody. We're getting there. We're getting there.

800
00:53:50.840 --> 00:53:52.368
Marisol: It happens, it happens.

801
00:53:52.750 --> 00:53:53.970
Tad Eggleston: Yeah.

802
00:53:53.970 --> 00:53:56.029
Maria Pena: And send it full size, we should.

803
00:53:56.630 --> 00:53:58.679
Marisol: Miss 3. Missing page.

804
00:53:59.110 --> 00:54:00.460
Tad Eggleston: It's fine.

805
00:54:01.240 --> 00:54:07.900
Tad Eggleston: There were many mystery missing pages on this. This is what happens when you're reading quasi-legal versions

806
00:54:08.819 --> 00:54:10.289
Tad Eggleston: call it. I

807
00:54:10.580 --> 00:54:25.479
Tad Eggleston: I call it quasi-legal for 2 reasons. First, st you know, I'm certain that it wouldn't take in much to get them to take it down. Second, Maria owns original copies. I own all of the

808
00:54:26.030 --> 00:54:37.149
Tad Eggleston: the library editions in like 3 different forms and most of the graphic novels, and I don't have all of the original copies yet. But like.

809
00:54:38.290 --> 00:54:43.690
Tad Eggleston: when we're trying to to manage to read in order

810
00:54:43.910 --> 00:54:48.679
Tad Eggleston: you need to, you need to have it in a way that you can read in order.

811
00:54:48.840 --> 00:54:49.740
Tad Eggleston: Yeah.

812
00:54:49.740 --> 00:54:50.510
Marisol: Yeah.

813
00:54:51.560 --> 00:54:55.370
Maria Pena: Yeah, I've got all the digital compilations. Yeah.

814
00:54:55.680 --> 00:55:00.030
Maria Pena: So that's where. So I got I got her, especially the newer stuff.

815
00:55:00.030 --> 00:55:07.670
Tad Eggleston: They, the Hernandez brothers and fantagraphics have gotten no shortage of our money. That's yeah.

816
00:55:07.670 --> 00:55:08.400
Tad Eggleston: Trying to say.

817
00:55:08.400 --> 00:55:09.280
Maria Pena: Yeah, exactly.

818
00:55:10.470 --> 00:55:20.119
Tad Eggleston: And you know, what if they put out this stuff in collected editions the way they just did with the 1st 40, I will be buying them.

819
00:55:20.320 --> 00:55:20.830
Maria Pena: Oh!

820
00:55:22.720 --> 00:55:23.130
Marisol: Right.

821
00:55:23.130 --> 00:55:27.219
Tad Eggleston: I will not go. Oh, I already have those. No, I'll go. Pretty.

822
00:55:28.320 --> 00:55:31.400
Marisol: Yes, a new version.

823
00:55:32.290 --> 00:55:34.619
Marisol: I must have it right.

824
00:55:35.640 --> 00:55:38.819
Tad Eggleston: So here is our one page story.

825
00:55:41.141 --> 00:55:50.580
Tad Eggleston: This actually looks almost like either Yoga or heroin withdrawal.

826
00:55:51.240 --> 00:55:54.790
Maria Pena: Yeah. And and it's Bob. Hope you see his face.

827
00:55:54.920 --> 00:55:56.309
Tad Eggleston: Is it Bob? Hope?

828
00:55:56.540 --> 00:56:02.520
Maria Pena: Yeah, that's or it's either or Richard Nixon. But I think it's Bob hope.

829
00:56:02.520 --> 00:56:05.330
Tad Eggleston: Yeah, no, it definitely has that feel, doesn't it?

830
00:56:05.810 --> 00:56:06.240
Maria Pena: Yeah.

831
00:56:06.970 --> 00:56:07.610
Marisol: How about?

832
00:56:08.050 --> 00:56:08.970
Tad Eggleston: Then.

833
00:56:09.700 --> 00:56:11.210
Maria Pena: Saving myself.

834
00:56:11.210 --> 00:56:15.099
Marisol: The youngest one here asking, who the hell is, Bob Hope?

835
00:56:15.530 --> 00:56:16.960
Maria Pena: Oh, okay. Yeah. Yeah.

836
00:56:19.740 --> 00:56:21.157
Maria Pena: He was a

837
00:56:21.630 --> 00:56:25.660
Tad Eggleston: American actor, comedian.

838
00:56:26.360 --> 00:56:26.950
Maria Pena: Yeah.

839
00:56:26.950 --> 00:56:31.139
Marisol: I've heard, but I cannot put a face with bing.

840
00:56:31.140 --> 00:56:39.190
Tad Eggleston: Crosby, he and Bing Crosby did on the road movies together. Bob Hope, what was a.

841
00:56:40.400 --> 00:56:42.410
Maria Pena: There's a comic book, Bob hope.

842
00:56:42.930 --> 00:56:43.570
Tad Eggleston: Is there.

843
00:56:43.570 --> 00:56:47.619
Maria Pena: The adventures of Bob Hope. Yeah, if you Google, Bob, Hope.

844
00:56:48.010 --> 00:56:55.959
Maria Pena: and you'll see. And and then you see the cut, you see, the way they drew him as a cartoon. And it looks a lot like that.

845
00:56:56.310 --> 00:56:56.960
Maria Pena: That was okay.

846
00:56:57.290 --> 00:56:57.800
Maria Pena: Yeah.

847
00:56:59.400 --> 00:57:00.759
Marisol: That does look like him.

848
00:57:01.930 --> 00:57:03.290
Maria Pena: Can, are you?

849
00:57:05.510 --> 00:57:07.950
Maria Pena: Oh, I thought you were sharing.

850
00:57:07.950 --> 00:57:11.150
Tad Eggleston: No, I will. I'll get back to it. I just.

851
00:57:12.450 --> 00:57:15.290
Tad Eggleston: We generally get better shares when I share

852
00:57:15.610 --> 00:57:20.980
Tad Eggleston: a particular window rather than my entire desktop is so.

853
00:57:20.980 --> 00:57:21.930
Marisol: Oh, dang!

854
00:57:22.280 --> 00:57:24.579
Marisol: He lived to be a hundred years old, good for him!

855
00:57:24.580 --> 00:57:27.760
Tad Eggleston: Yeah, yeah, there we go.

856
00:57:27.760 --> 00:57:28.250
Marisol: What do I?

857
00:57:28.250 --> 00:57:30.069
Maria Pena: I'm sure he's dead by now.

858
00:57:30.350 --> 00:57:30.980
Tad Eggleston: He is.

859
00:57:30.980 --> 00:57:32.490
Marisol: Oh, yeah, he does.

860
00:57:33.380 --> 00:57:35.629
Tad Eggleston: But more recently than you would think.

861
00:57:36.010 --> 00:57:36.969
Maria Pena: Yeah, yeah.

862
00:57:38.960 --> 00:57:42.580
Tad Eggleston: So yeah, there, there, we have some some bob. Hope comics.

863
00:57:42.840 --> 00:57:44.330
Tad Eggleston: Yeah, here's with Bob. Hope.

864
00:57:44.620 --> 00:57:47.680
Maria Pena: I mean. Look at look at his the way they drew him.

865
00:57:47.680 --> 00:57:50.839
Tad Eggleston: Yeah, no, it's it's it's totally how they drew him.

866
00:57:52.950 --> 00:57:53.710
Maria Pena: As I saw him.

867
00:57:53.710 --> 00:57:54.280
Maria Pena: I want this.

868
00:57:54.280 --> 00:57:54.950
Maria Pena: Oh.

869
00:57:57.740 --> 00:57:58.100
Tad Eggleston: Yeah.

870
00:57:58.100 --> 00:58:02.040
Maria Pena: Not that one? No, it's not a good one, but when they do him 3 quarter.

871
00:58:03.810 --> 00:58:04.400
Tad Eggleston: There!

872
00:58:05.500 --> 00:58:06.360
Maria Pena: Yeah.

873
00:58:08.880 --> 00:58:09.590
Tad Eggleston: Yeah.

874
00:58:10.930 --> 00:58:16.969
Tad Eggleston: Well, we know how much they love their old comics and their old movies. So put those together. And

875
00:58:18.260 --> 00:58:25.770
Tad Eggleston: it's not shocking that he would do that. But but now I want to know even more about these heroin stories.

876
00:58:27.075 --> 00:58:27.700
Marisol: Right!

877
00:58:27.700 --> 00:58:28.685
Marisol: Oh.

878
00:58:29.670 --> 00:58:35.229
Tad Eggleston: Because because they seem to involve a lot of very interesting decisions.

879
00:58:35.230 --> 00:58:37.109
Maria Pena: Yeah, right.

880
00:58:39.530 --> 00:58:41.450
Tad Eggleston: Not bad decisions like.

881
00:58:41.450 --> 00:58:44.719
Maria Pena: When I 1st saw it I thought it was Richard Dixon right, and then.

882
00:58:44.720 --> 00:58:45.120
Tad Eggleston: Right.

883
00:58:45.120 --> 00:58:49.500
Maria Pena: But when he, when he's right, that that last second last

884
00:58:49.680 --> 00:58:53.320
Maria Pena: frame I was like, no, that's not Richard. Nix, Nixon, that's Bob hope.

885
00:58:55.600 --> 00:58:56.900
Tad Eggleston: Yeah. Yeah.

886
00:59:00.300 --> 00:59:01.190
Tad Eggleston: Wow.

887
00:59:01.940 --> 00:59:02.290
Maria Pena: Good morning!

888
00:59:02.290 --> 00:59:02.950
Marisol: Hi.

889
00:59:05.125 --> 00:59:15.709
Tad Eggleston: Again. Yeah, very, a very Hernandez.

890
00:59:16.070 --> 00:59:27.410
Tad Eggleston: And and actually, even even more, Gilbert Gilbert is the one that sometimes just does weird nonlinear and or.

891
00:59:28.756 --> 00:59:30.049
Maria Pena: He's definitely.

892
00:59:30.050 --> 00:59:31.420
Tad Eggleston: Non-narrative.

893
00:59:31.420 --> 00:59:32.769
Maria Pena: Not narrowly. He.

894
00:59:32.770 --> 00:59:33.590
Tad Eggleston: Yeah.

895
00:59:34.120 --> 00:59:38.149
Maria Pena: He sort of. He steps into the realm of fine art.

896
00:59:38.580 --> 00:59:38.900
Tad Eggleston: Right.

897
00:59:38.900 --> 00:59:47.909
Maria Pena: So you don't. It doesn't explain what it's about. It doesn't explain. It's just like English. Lets you go into your own head going what the fuck does this mean?

898
00:59:48.350 --> 00:59:54.129
Tad Eggleston: Well, and that's the I mean the next comic here is. She sleeps with anybody but me, and like

899
00:59:55.120 --> 01:00:00.580
Tad Eggleston: I have no idea how that title goes along with the rest of the comic.

900
01:00:00.940 --> 01:00:01.620
Maria Pena: Hmm.

901
01:00:01.620 --> 01:00:02.470
Marisol: Right?

902
01:00:03.650 --> 01:00:10.999
Marisol: Because it's just this superhero, seeing that this kid gets a weird birthday present from spiky balloon thing.

903
01:00:11.730 --> 01:00:12.380
Maria Pena: Right.

904
01:00:12.380 --> 01:00:13.880
Maria Pena: The portal.

905
01:00:14.010 --> 01:00:19.099
Maria Pena: Oh, yeah, right? Oh, yeah. She's watching him. The superhero girl from the.

906
01:00:19.100 --> 01:00:23.449
Tad Eggleston: Yeah, she's watching him on TV. He's watching her on TV.

907
01:00:24.360 --> 01:00:24.720
Maria Pena: What's me?

908
01:00:24.720 --> 01:00:35.040
Tad Eggleston: And well, no, maybe he's not watching her on TV. Maybe. Yeah, she's just watching him on TV. And he gets this thing, and that makes it so that she can come through.

909
01:00:35.740 --> 01:00:39.310
Maria Pena: And then she takes him away for.

910
01:00:39.610 --> 01:00:41.530
Tad Eggleston: Yeah, they fly a little bit.

911
01:00:42.350 --> 01:00:46.579
Tad Eggleston: and for that matter, that's like, so

912
01:00:47.550 --> 01:00:50.649
Tad Eggleston: that is like the superman flight with Lois.

913
01:00:51.340 --> 01:00:53.470
Tad Eggleston: You know, for 1st let me bring you up, and then

914
01:00:53.840 --> 01:00:59.499
Tad Eggleston: let's let's I can fly so well that you can fly next to me and put your arm out.

915
01:01:00.050 --> 01:01:01.770
Maria Pena: And they go around the world.

916
01:01:01.990 --> 01:01:03.340
Tad Eggleston: Right, right.

917
01:01:03.340 --> 01:01:09.989
Maria Pena: Right like you're gonna share your screen, Ted.

918
01:01:10.210 --> 01:01:13.219
Tad Eggleston: Oh, I'm sorry I forgot that I hadn't reshared it.

919
01:01:13.650 --> 01:01:16.859
Maria Pena: Yeah, my fault, that's okay. Just so we know.

920
01:01:16.860 --> 01:01:17.590
Marisol: It's all good.

921
01:01:18.360 --> 01:01:19.110
Tad Eggleston: Yeah.

922
01:01:20.820 --> 01:01:24.410
Maria Pena: And then his balloon kind of does the

923
01:01:25.080 --> 01:01:29.699
Maria Pena: but but in a kind of a I don't know. It's like a fireball.

924
01:01:29.700 --> 01:01:30.609
Tad Eggleston: All right.

925
01:01:30.820 --> 01:01:32.470
Maria Pena: And then he's crying.

926
01:01:33.180 --> 01:01:36.060
Maria Pena: Well, because this balloon got right.

927
01:01:36.430 --> 01:01:40.620
Maria Pena: but she's looking at us like, damn. I took him for right.

928
01:01:40.620 --> 01:01:43.276
Tad Eggleston: What does he need?

929
01:01:43.940 --> 01:01:47.840
Maria Pena: Cry for this fucking balloon.

930
01:01:47.840 --> 01:01:48.530
Tad Eggleston: Right.

931
01:01:48.930 --> 01:01:50.019
Maria Pena: That's very weird.

932
01:01:52.480 --> 01:01:55.969
Maria Pena: And then there's a appeal for letters about.

933
01:01:55.970 --> 01:01:56.570
Tad Eggleston: Yeah.

934
01:01:56.570 --> 01:01:58.809
Maria Pena: And you love from better.

935
01:02:06.040 --> 01:02:09.249
Tad Eggleston: then our last heroine.

936
01:02:09.550 --> 01:02:13.770
Maria Pena: Or less heroin, which was a very sort of weird.

937
01:02:13.930 --> 01:02:20.930
Tad Eggleston: Yeah, it's like the 2 people out on the town going into the bad neighborhood and.

938
01:02:20.930 --> 01:02:22.360
Maria Pena: Decrepit.

939
01:02:22.360 --> 01:02:30.220
Tad Eggleston: The baby with no hands or mouth their bottle of booze, and

940
01:02:32.050 --> 01:02:36.870
Tad Eggleston: and then going to have dinner, and that's when she goes. But I don't remember him having a mouth.

941
01:02:38.560 --> 01:02:39.250
Maria Pena: Yeah.

942
01:02:39.620 --> 01:02:46.119
Tad Eggleston: So she goes back, and and I don't even know where we're going from there, cause it's just

943
01:02:47.170 --> 01:02:50.640
Tad Eggleston: now we've got like scientists in big.

944
01:02:52.440 --> 01:02:56.250
Tad Eggleston: Well, that's her, and that's what she does. Oh, no.

945
01:02:56.250 --> 01:02:57.000
Marisol: Okay.

946
01:02:57.000 --> 01:02:59.119
Maria Pena: Oh, is it her? No, maybe not actually.

947
01:02:59.120 --> 01:03:00.260
Tad Eggleston: I don't. I don't think it is.

948
01:03:00.260 --> 01:03:01.010
Marisol: Yeah, of course.

949
01:03:01.010 --> 01:03:02.910
Maria Pena: No, no, it is her.

950
01:03:03.170 --> 01:03:03.700
Tad Eggleston: Okay.

951
01:03:03.700 --> 01:03:09.979
Maria Pena: Thought he was a last. Very no cosmos wonderful. He wants to, you know. He wants the baby. He's just scared.

952
01:03:10.300 --> 01:03:11.360
Marisol: Okay.

953
01:03:12.120 --> 01:03:12.880
Maria Pena: So.

954
01:03:12.880 --> 01:03:13.439
Tad Eggleston: Pardon me.

955
01:03:16.280 --> 01:03:21.449
Maria Pena: He's pregnant, and then she gives birth.

956
01:03:21.560 --> 01:03:25.600
Maria Pena: and she's worried that well, because she went back there

957
01:03:26.070 --> 01:03:34.720
Maria Pena: to where they had seen the baby. And then this robot came with a wand. The thing and I wonder if he impregnated her.

958
01:03:34.970 --> 01:03:38.990
Maria Pena: Is that Cosmo of the I know.

959
01:03:40.418 --> 01:03:46.742
Maria Pena: No, Cosmo is the main very weird. And

960
01:03:50.520 --> 01:03:53.470
Maria Pena: and they take her baby away from her.

961
01:03:54.140 --> 01:03:57.390
Maria Pena: Oh, I don't know.

962
01:03:58.680 --> 01:04:00.910
Maria Pena: Yes, like she gives birth to

963
01:04:01.220 --> 01:04:03.990
Maria Pena: this baby, and we don't know if he had a mouth, but then the.

964
01:04:03.990 --> 01:04:05.160
Tad Eggleston: Yeah, does it have a mouse.

965
01:04:05.160 --> 01:04:10.820
Maria Pena: The judges, or whatever. Tell her that the your child.

966
01:04:11.060 --> 01:04:13.699
Maria Pena: you know I know they're doctors, but they're.

967
01:04:13.700 --> 01:04:15.720
Tad Eggleston: Passed on soon after birth.

968
01:04:16.370 --> 01:04:18.850
Marisol: Yeah, while you were unconscious.

969
01:04:18.850 --> 01:04:20.109
Maria Pena: And they're all we, even.

970
01:04:20.545 --> 01:04:23.380
Marisol: Oh, part of the law had to be destroyed!

971
01:04:23.890 --> 01:04:25.929
Maria Pena: Meeting with the doctors.

972
01:04:25.930 --> 01:04:26.740
Marisol: Thank you.

973
01:04:30.360 --> 01:04:40.000
Maria Pena: And and then she tries to go back to where she found the original baby, the original thing that they fed. And there's a big fence.

974
01:04:40.750 --> 01:04:44.439
Tad Eggleston: No trespassing in very small letters.

975
01:04:44.440 --> 01:04:46.489
Maria Pena: And then she's singing a.

976
01:04:46.950 --> 01:04:49.590
Tad Eggleston: Away in a manger and.

977
01:04:50.080 --> 01:04:51.080
Maria Pena: Yeah, so.

978
01:04:51.080 --> 01:04:53.210
Tad Eggleston: Then she's trying to get Cosmo back.

979
01:04:54.690 --> 01:04:58.440
Tad Eggleston: and then she's looking at it and going. Wow! They cleared that out fast.

980
01:04:59.830 --> 01:05:04.530
Maria Pena: It was his home, meaning the the weird baby with no mouth.

981
01:05:04.920 --> 01:05:05.700
Tad Eggleston: Right.

982
01:05:06.760 --> 01:05:12.839
Maria Pena: And then she that's this weird hallucination, is it? Or.

983
01:05:13.820 --> 01:05:18.900
Tad Eggleston: Is it the? Is it the baby, or is it Cosmo? Or is it some mixture of the 2.

984
01:05:19.410 --> 01:05:23.979
Maria Pena: Well, you say the baby has no mouth, but it's now a man.

985
01:05:24.400 --> 01:05:25.070
Marisol: Green.

986
01:05:25.560 --> 01:05:28.600
Tad Eggleston: But it's its hair is cosmoish.

987
01:05:29.190 --> 01:05:33.580
Tad Eggleston: and I feel like, does Cosmo have a mustache.

988
01:05:35.010 --> 01:05:36.360
Marisol: I don't think so.

989
01:05:36.520 --> 01:05:37.140
Marisol: No.

990
01:05:37.140 --> 01:05:37.530
Tad Eggleston: Yeah.

991
01:05:37.530 --> 01:05:38.280
Maria Pena: I was.

992
01:05:38.280 --> 01:05:42.870
Tad Eggleston: No, I guess it's the baby that has the mustache. Now that I look at it carefully.

993
01:05:43.650 --> 01:05:44.150
Maria Pena: Yeah.

994
01:05:44.150 --> 01:05:44.470
Marisol: Yeah.

995
01:05:44.470 --> 01:05:46.059
Tad Eggleston: The baby's got a little bit.

996
01:05:46.520 --> 01:05:48.630
Tad Eggleston: So yeah, it's got to be the baby.

997
01:05:49.010 --> 01:05:51.280
Maria Pena: And then she gets some kind of treatment.

998
01:05:52.740 --> 01:05:54.510
Maria Pena: But she's since she's good.

999
01:05:54.510 --> 01:05:56.319
Marisol: Some kind of electrophact.

1000
01:05:57.090 --> 01:06:01.479
Tad Eggleston: And like hardcore electric rock treatment, it could have killed many.

1001
01:06:02.350 --> 01:06:07.059
Maria Pena: And then she had a Zoom Meeting with the doctors again. They're like, you know, we don't know what happened.

1002
01:06:07.060 --> 01:06:07.840
Tad Eggleston: You're in perfect health.

1003
01:06:08.540 --> 01:06:09.787
Maria Pena: You're free to go.

1004
01:06:10.100 --> 01:06:14.779
Tad Eggleston: Right? Yeah. Old school zoom, where it's just 4 Tvs with heads.

1005
01:06:17.315 --> 01:06:18.500
Marisol: And.

1006
01:06:18.500 --> 01:06:23.519
Maria Pena: Then she's wearing sunglasses indoors in at night, and why.

1007
01:06:23.520 --> 01:06:24.070
Tad Eggleston: Well, because.

1008
01:06:24.070 --> 01:06:24.790
Maria Pena: I.

1009
01:06:25.900 --> 01:06:28.629
Tad Eggleston: She's both Cyclops and Superman.

1010
01:06:28.830 --> 01:06:29.290
Maria Pena: Yeah.

1011
01:06:29.750 --> 01:06:30.140
Marisol: Yes.

1012
01:06:31.270 --> 01:06:39.640
Maria Pena: And she points her eyes out up into the sky, and and he goes flying, and then

1013
01:06:39.880 --> 01:06:41.520
Maria Pena: she turns around.

1014
01:06:41.930 --> 01:06:53.019
Maria Pena: I love that. She's on her way to merge with the gods and with the spirits of all our beloved lost ones. Wait! Is she turning around? Luke says she's changed her mind.

1015
01:06:53.530 --> 01:06:55.409
Maria Pena: and she destroys the world.

1016
01:06:55.730 --> 01:06:58.680
Tad Eggleston: Yeah, that that was the you had to send to us.

1017
01:06:58.930 --> 01:07:05.370
Maria Pena: Yeah, yeah, cause I saw this the scan. And I was like, Oh, that's a weird ending.

1018
01:07:05.520 --> 01:07:06.070
Tad Eggleston: Yeah.

1019
01:07:06.070 --> 01:07:18.710
Maria Pena: And then I you know I don't know what made me. I was like. Oh, just go get the originals and and then I was like, oh, there's a couple extra pages, because I noticed that the scan didn't have a back cover or anything.

1020
01:07:18.940 --> 01:07:19.620
Tad Eggleston: Right.

1021
01:07:20.740 --> 01:07:21.430
Maria Pena: So.

1022
01:07:22.010 --> 01:07:26.449
Tad Eggleston: And there was only one story page missing, I think, and then the back cover.

1023
01:07:26.960 --> 01:07:29.590
Maria Pena: Yeah, and the heroin, the other heroin.

1024
01:07:30.010 --> 01:07:35.739
Tad Eggleston: Well, yeah, but but we didn't even realize that, though the blab looks like a cool anthology.

1025
01:07:36.740 --> 01:07:38.870
Maria Pena: Yeah. Right?

1026
01:07:39.480 --> 01:07:40.960
Maria Pena: Chris Ware.

1027
01:07:41.120 --> 01:07:47.910
Tad Eggleston: We? We keep seeing ads for things that have been long out of print, but I want them now.

1028
01:07:48.100 --> 01:07:49.550
Maria Pena: Yeah, right.

1029
01:07:50.350 --> 01:07:54.460
Marisol: Right, no.

1030
01:07:55.400 --> 01:07:57.840
Maria Pena: And penny sanctuary.

1031
01:07:58.450 --> 01:08:00.599
Tad Eggleston: The back. Cover with the.

1032
01:08:00.920 --> 01:08:03.200
Maria Pena: You're you're still sharing the old.

1033
01:08:03.200 --> 01:08:05.420
Tad Eggleston: Oh, oh, sorry!

1034
01:08:05.420 --> 01:08:05.890
Maria Pena: It's.

1035
01:08:05.890 --> 01:08:06.955
Tad Eggleston: Sorry let me

1036
01:08:08.730 --> 01:08:09.420
Marisol: Good.

1037
01:08:10.840 --> 01:08:13.750
Tad Eggleston: Yeah, that's right. Marisol hasn't seen it at all yet.

1038
01:08:15.140 --> 01:08:16.080
Marisol: I did.

1039
01:08:16.760 --> 01:08:17.449
Tad Eggleston: That's right.

1040
01:08:17.450 --> 01:08:25.330
Marisol: I was able to read through the whole thing and then go to the email where Maria sent us the scans of the missing pages.

1041
01:08:25.750 --> 01:08:27.180
Tad Eggleston: Okay. Now, I feel better.

1042
01:08:27.189 --> 01:08:30.449
Marisol: It's saying that I saw that email.

1043
01:08:31.029 --> 01:08:33.859
Marisol: I saw that it was issue for Number 5,

1044
01:08:34.089 --> 01:08:38.399
Marisol: and I still read Number 6 for today.

1045
01:08:38.399 --> 01:08:45.871
Maria Pena: I know, and you're like this last page from that story didn't make sense right.

1046
01:08:46.979 --> 01:08:51.590
Marisol: Oh, my goodness, I I can't read! Apparently.

1047
01:08:52.279 --> 01:08:57.139
Tad Eggleston: I feel like this back cover is also an homage to.

1048
01:08:58.622 --> 01:09:04.810
Maria Pena: Yeah to something I mean that those doggy, doggy noses he's a dog.

1049
01:09:04.819 --> 01:09:05.419
Tad Eggleston: Yeah.

1050
01:09:05.420 --> 01:09:07.769
Maria Pena: What? What is it? A little bash, do I?

1051
01:09:08.260 --> 01:09:10.100
Maria Pena: I don't know.

1052
01:09:10.551 --> 01:09:14.079
Maria Pena: Looney tunes from a long time ago, or.

1053
01:09:14.080 --> 01:09:15.109
Tad Eggleston: Alright!

1054
01:09:15.700 --> 01:09:22.109
Maria Pena: I'm not sure like it feels very retro.

1055
01:09:22.359 --> 01:09:26.809
Tad Eggleston: This was definitely an issue where

1056
01:09:28.339 --> 01:09:30.159
Tad Eggleston: Beto was having a lot of fun.

1057
01:09:31.210 --> 01:09:31.750
Marisol: Oh, yeah.

1058
01:09:32.100 --> 01:09:36.990
Maria Pena: So different. Like we got Mexico with La Llorona. We got

1059
01:09:37.479 --> 01:09:47.259
Maria Pena: latest from Venus, which is her usual people, and all these little short stories. We go back to the to the rocket spot of love and rockets, and

1060
01:09:48.010 --> 01:09:52.300
Maria Pena: a little bit, you know, like bit more space

1061
01:09:55.210 --> 01:09:59.020
Maria Pena: more like the the early stories I used to do, I guess.

1062
01:09:59.020 --> 01:09:59.660
Tad Eggleston: Yeah.

1063
01:09:59.790 --> 01:10:00.340
Marisol: Yeah.

1064
01:10:01.330 --> 01:10:05.060
Maria Pena: Like in the same world as Errata sigma.

1065
01:10:06.500 --> 01:10:07.480
Marisol: Yeah.

1066
01:10:08.780 --> 01:10:10.420
Maria Pena: I live in her city.

1067
01:10:15.150 --> 01:10:15.910
Tad Eggleston: Not a fun thing.

1068
01:10:18.600 --> 01:10:19.570
Maria Pena: Okay.

1069
01:10:21.770 --> 01:10:22.430
Marisol: Hmm.

1070
01:10:22.690 --> 01:10:24.150
Tad Eggleston: Do we want to start with.

1071
01:10:25.870 --> 01:10:27.440
Maria Pena: Well, we're on.

1072
01:10:27.440 --> 01:10:33.580
Tad Eggleston: No, we're not. We're on heavy metal again. Do you want to start with Beto or Jaime?

1073
01:10:34.490 --> 01:10:34.880
Maria Pena: Yes.

1074
01:10:34.880 --> 01:10:36.489
Marisol: A little delay. When you switch it.

1075
01:10:39.030 --> 01:10:43.120
Maria Pena: Well, I would say better because we just finished it, you know.

1076
01:10:43.120 --> 01:10:43.900
Marisol: Yeah.

1077
01:10:51.520 --> 01:10:53.010
Tad Eggleston: Yeah, I had to mess with you.

1078
01:10:59.780 --> 01:11:00.370
Marisol: So.

1079
01:11:00.370 --> 01:11:02.889
Maria Pena: All right. So favorite panels.

1080
01:11:04.293 --> 01:11:05.639
Tad Eggleston: Favorite panels.

1081
01:11:06.460 --> 01:11:07.769
Marisol: We'll have to go first.st

1082
01:11:08.520 --> 01:11:12.910
Maria Pena: Yeah, you go first.st

1083
01:11:14.520 --> 01:11:29.669
Marisol: Okay, I have to say mine. Each number is this page 5 in the letters from Venus story.

1084
01:11:29.830 --> 01:11:34.520
Marisol: where they're confronting Mitch about stealing the weird Boba butt plug.

1085
01:11:34.920 --> 01:11:35.340
Maria Pena: Okay.

1086
01:11:35.340 --> 01:11:39.940
Marisol: And it we panel of the the

1087
01:11:40.280 --> 01:11:43.099
Marisol: 1, 2, 3, 4th and 5th panels

1088
01:11:43.550 --> 01:11:50.029
Marisol: where the 1st one it's got everybody in like just white with outlines, and then the rest of the background is black.

1089
01:11:50.490 --> 01:11:50.970
Tad Eggleston: Okay.

1090
01:11:50.970 --> 01:11:56.490
Marisol: And then, his face looking looking very like

1091
01:11:57.640 --> 01:12:06.299
Marisol: I don't know what the word for the expression for that is, but it's like like somebody, and they're just very blank face looking at you like

1092
01:12:06.490 --> 01:12:09.020
Marisol: no, I didn't do the thing you're accusing me of. Absolutely not.

1093
01:12:09.020 --> 01:12:10.350
Marisol: You're crazy.

1094
01:12:10.630 --> 01:12:12.430
Maria Pena: Yeah, yeah, right? Yeah, it's great.

1095
01:12:12.890 --> 01:12:13.570
Maria Pena: Just.

1096
01:12:14.830 --> 01:12:17.449
Marisol: I don't know why I just really like that transition.

1097
01:12:17.880 --> 01:12:18.650
Maria Pena: Hmm!

1098
01:12:18.930 --> 01:12:21.810
Maria Pena: Like they're all gagging up against him.

1099
01:12:22.380 --> 01:12:22.900
Maria Pena: Oh, good!

1100
01:12:22.900 --> 01:12:24.519
Maria Pena: Yeah, like they're all.

1101
01:12:26.820 --> 01:12:29.319
Marisol: Yeah. Nice, unconscious.

1102
01:12:30.490 --> 01:12:31.517
Marisol: Well, not quickly.

1103
01:12:32.140 --> 01:12:38.219
Marisol: He's he's on the defensive, and just like you've made a mistake.

1104
01:12:39.600 --> 01:12:44.770
Maria Pena: Yes, yeah, that's sort of determined kind of I'm not gonna.

1105
01:12:44.770 --> 01:12:45.170
Marisol: Yes.

1106
01:12:45.170 --> 01:12:46.170
Maria Pena: No comment.

1107
01:12:46.912 --> 01:12:52.849
Marisol: Not aggressively defensive until a couple panels later.

1108
01:12:53.000 --> 01:12:58.429
Marisol: but very much said, No, no, no, you you made a mistake. No, I didn't take your thing.

1109
01:12:59.210 --> 01:12:59.950
Maria Pena: No.

1110
01:13:02.160 --> 01:13:05.689
Marisol: But I I do mostly like that transition from like the big group shot

1111
01:13:05.900 --> 01:13:08.510
Marisol: to very close up on his face.

1112
01:13:08.990 --> 01:13:10.979
Maria Pena: Yeah, yeah, it's good.

1113
01:13:11.140 --> 01:13:12.290
Marisol: That's my favorite.

1114
01:13:13.110 --> 01:13:13.890
Maria Pena: My good.

1115
01:13:25.530 --> 01:13:29.420
Tad Eggleston: to feel like there was a Venus one that

1116
01:13:29.550 --> 01:13:35.560
Tad Eggleston: stuck out to me. But I'm trying 2.

1117
01:13:39.490 --> 01:13:46.360
Maria Pena: Well, while you're looking for it, I love the the last harrowing story

1118
01:13:46.960 --> 01:13:52.760
Maria Pena: when the last page, when she's flying, and you can see.

1119
01:13:53.303 --> 01:13:53.869
Tad Eggleston: So so.

1120
01:13:54.520 --> 01:13:55.689
Maria Pena: And her.

1121
01:13:55.690 --> 01:14:01.420
Tad Eggleston: The the pay that the the 1st of the pages that was added.

1122
01:14:01.830 --> 01:14:02.560
Maria Pena: Yeah.

1123
01:14:02.720 --> 01:14:04.620
Maria Pena: Yes. Okay.

1124
01:14:06.280 --> 01:14:07.730
Tad Eggleston: Which which panel.

1125
01:14:08.496 --> 01:14:17.119
Maria Pena: Well, I kind of like that whole sequence when she's she's flying, and you see that

1126
01:14:17.290 --> 01:14:19.550
Maria Pena: like the way he's

1127
01:14:19.720 --> 01:14:27.780
Maria Pena: just made it so simple where you know it's her because of these beams of light, and everybody's looking up at her. And then she

1128
01:14:27.780 --> 01:14:29.000
Maria Pena: right is around.

1129
01:14:29.620 --> 01:14:30.759
Maria Pena: I think it's great

1130
01:14:35.020 --> 01:14:42.350
Maria Pena: turning around. Looks. She's changed her mo like I will paint brilliant.

1131
01:14:45.370 --> 01:14:47.800
Maria Pena: brilliant storytelling. Yeah.

1132
01:14:56.890 --> 01:15:03.319
Maria Pena: Yeah, I love it when she looks up at the sky and starts floating up to it. Yeah, that whole sequence is great.

1133
01:15:06.870 --> 01:15:09.729
Maria Pena: She's on her way to merge with the gods.

1134
01:15:11.510 --> 01:15:17.909
Tad Eggleston: And actually, I just realized that my favorite isn't a Venus. I remember what I love.

1135
01:15:18.270 --> 01:15:24.710
Tad Eggleston: I love. Yeah, those the 3 dancing La Llorona.

1136
01:15:24.960 --> 01:15:26.650
Maria Pena: Oh, yeah, yeah, that was great.

1137
01:15:26.760 --> 01:15:27.500
Marisol: Hmm!

1138
01:15:29.520 --> 01:15:30.899
Marisol: Those were good ones.

1139
01:15:33.630 --> 01:15:48.110
Maria Pena: Yeah, that's that's a again, really good storytelling. If you're just kidding older and older. And in the this.

1140
01:15:48.240 --> 01:15:52.839
Maria Pena: it's like the things around her are getting smaller as well like.

1141
01:15:53.950 --> 01:15:59.269
Marisol: Not only that, but it's like kind of like. We're seeing what takes priority in her life.

1142
01:16:00.245 --> 01:16:10.380
Maria Pena: the point, yeah, he's got a Christian staying across and and she's obviously.

1143
01:16:12.280 --> 01:16:12.920
Tad Eggleston: Yeah.

1144
01:16:14.750 --> 01:16:15.560
Maria Pena: Yeah, that's good.

1145
01:16:16.670 --> 01:16:21.710
Tad Eggleston: All right, Penny Century, who wasn't in penny Century.

1146
01:16:23.290 --> 01:16:24.270
Marisol: Thank you.

1147
01:16:24.470 --> 01:16:26.360
Tad Eggleston: 20th century without package.

1148
01:16:30.310 --> 01:16:30.920
Marisol: Hmm.

1149
01:16:30.920 --> 01:16:34.760
Maria Pena: This one has got 6. Yeah.

1150
01:16:34.890 --> 01:16:36.849
Marisol: I'll say Mike, favorites were still

1151
01:16:37.280 --> 01:16:42.239
Marisol: on page 7, those top 2 panels with the staring contest with baby man.

1152
01:16:42.240 --> 01:16:44.090
Marisol: Yeah, boyfriend.

1153
01:16:44.890 --> 01:16:46.060
Maria Pena: Yeah, that's great.

1154
01:16:46.060 --> 01:16:53.299
Marisol: Between the panels. He just looks increasingly more scared, and he, his expression is much more intense.

1155
01:16:56.940 --> 01:16:57.650
Maria Pena: Yeah.

1156
01:16:59.210 --> 01:17:02.403
Marisol: Like my guy. Why are you staring at a baby so hard.

1157
01:17:03.010 --> 01:17:03.785
Maria Pena: Yeah.

1158
01:17:04.870 --> 01:17:08.119
Marisol: Like babies stare. That's what they do.

1159
01:17:08.680 --> 01:17:09.610
Tad Eggleston: My.

1160
01:17:10.580 --> 01:17:11.090
Marisol: Yeah.

1161
01:17:11.090 --> 01:17:20.120
Tad Eggleston: My favorite is the page before, and Isabel on the backseat, with.

1162
01:17:24.610 --> 01:17:25.480
Marisol: Hmm.

1163
01:17:27.020 --> 01:17:28.120
Maria Pena: Huh!

1164
01:17:29.670 --> 01:17:35.680
Maria Pena: Think I mean I love another one where they're crossing the street.

1165
01:17:35.850 --> 01:17:39.700
Maria Pena: and there's a Vw. Where you have the lights.

1166
01:17:40.260 --> 01:17:43.210
Maria Pena: and these 2 rescues crossing the street.

1167
01:17:43.970 --> 01:17:45.540
Maria Pena: It's quite nice.

1168
01:17:48.045 --> 01:17:51.300
Maria Pena: There's lots of little frames like that.

1169
01:17:51.300 --> 01:17:51.990
Maria Pena: Oh, yeah,

1170
01:17:54.090 --> 01:17:55.500
Tad Eggleston: No, that's a great one.

1171
01:17:56.320 --> 01:17:57.480
Maria Pena: Yeah. And

1172
01:17:58.600 --> 01:18:07.669
Maria Pena: and for drama, I like the one with her father showing her the cigarettes with the belt in his hand. I think that's really cool.

1173
01:18:09.110 --> 01:18:15.459
Maria Pena: really strong, like, really like, Oh, shit, man, you're you're gonna.

1174
01:18:15.780 --> 01:18:16.500
Marisol: Yeah.

1175
01:18:16.890 --> 01:18:23.180
Maria Pena: Yeah, like the foreboding in that image and her kind of going. Oh, crap! Let's see.

1176
01:18:24.740 --> 01:18:25.390
Maria Pena: So beam.

1177
01:18:25.390 --> 01:18:28.560
Marisol: Like you. Wanna explain this, and you better have a good explanation.

1178
01:18:28.560 --> 01:18:29.750
Maria Pena: 43 am.

1179
01:18:30.892 --> 01:18:32.057
Maria Pena: So that's

1180
01:18:32.810 --> 01:18:33.690
Maria Pena: Yeah.

1181
01:18:39.130 --> 01:18:39.890
Marisol: hmm!

1182
01:18:42.090 --> 01:18:43.520
Marisol: This is a great issue.

1183
01:18:43.840 --> 01:18:45.299
Tad Eggleston: It was.

1184
01:18:46.600 --> 01:18:48.250
Marisol: We said that about every issue, though.

1185
01:18:48.700 --> 01:18:53.650
Tad Eggleston: We do, and and and it's never false.

1186
01:18:53.960 --> 01:18:54.380
Tad Eggleston: That's.

1187
01:18:54.380 --> 01:18:54.760
Marisol: Cool.

1188
01:18:54.990 --> 01:18:57.014
Marisol: We like them all.

1189
01:18:57.520 --> 01:19:04.739
Tad Eggleston: Wonderful thanks level each issue. There are some very weird things, sure and pretty easy.

1190
01:19:04.740 --> 01:19:07.560
Marisol: The weird things are generally is about.

1191
01:19:08.170 --> 01:19:13.719
Tad Eggleston: Even the weird things generally have some sort of weird beauty to them or

1192
01:19:14.300 --> 01:19:17.650
Tad Eggleston: or make it. We just lost Marisol hopefully. She comes back.

1193
01:19:17.650 --> 01:19:18.270
Maria Pena: Oh!

1194
01:19:20.560 --> 01:19:22.379
Tad Eggleston: Or make you want to.

1195
01:19:24.980 --> 01:19:25.450
Maria Pena: Well, it makes.

1196
01:19:25.450 --> 01:19:28.189
Tad Eggleston: Think more about why they did it.

1197
01:19:28.190 --> 01:19:28.920
Maria Pena: Hmm.

1198
01:19:29.717 --> 01:19:30.932
Tad Eggleston: You know

1199
01:19:31.540 --> 01:19:42.899
Maria Pena: Well, like, you know, it's definitely like I was like, you know, like I was saying before. You know, it's like it. It goes into the realm of fine art.

1200
01:19:45.380 --> 01:19:48.829
Maria Pena: For the reason that it just led to

1201
01:19:49.870 --> 01:19:55.870
Maria Pena: do. Do your own you know, interpret whichever way

1202
01:19:56.360 --> 01:20:01.741
Maria Pena: and that it doesn't explain it, doesn't it? Just you just go. Okay, you know.

1203
01:20:02.100 --> 01:20:02.720
Tad Eggleston: Yeah.

1204
01:20:02.940 --> 01:20:03.810
Tad Eggleston: Yeah.

1205
01:20:04.100 --> 01:20:15.890
Tad Eggleston: Well, next week it'll be the final issue of New Love and the 4th issue of Penny Century.

1206
01:20:15.890 --> 01:20:16.900
Maria Pena: 3,

1207
01:20:16.900 --> 01:20:21.830
Tad Eggleston: So for Maria and Marisol.

1208
01:20:22.380 --> 01:20:29.979
Tad Eggleston: This has been the Love and Rockets book Club on 22 panels, and we will see you after the next page.