Bonus Episode: 22 Panels Book Club - Heavy Metal January 1979

Tad, Matt, Peter, and Dillon discuss the January 1979 issue of Heavy Metal Magazine.

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Transcript

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Tad Eggleston: Hello, everybody! Welcome back to heavy Metal Book Club on 22 panels. I've got Matt. I've got Peter. I've got Dylan Gilbertson, who's in fulfillment on my neighbor necromancer issue 2

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Tad Eggleston: anxiously awaiting seeing it?

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Tad Eggleston: Or did you send me a digital copy already?

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Dillon Gilbertson: I have not sent the digital.

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Tad Eggleston: Okay.

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Tad Eggleston: because I would feel bad if I had one, and I hadn't read it. So I feel much better now.

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Matt: Valid.

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Tad Eggleston: That's right. Your your last update was. It was like 2 pages from being done right.

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Dillon Gilbertson: Yeah, we got one. We got one page left Jason just the penultimate page.

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Tad Eggleston: Okay, that makes me feel better.

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Dillon Gilbertson: Yeah, weird.

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Tad Eggleston: So not quite into fulfillment. I only thought of it as in fulfillment, because the last time we talked you got in your T-shirts.

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Dillon Gilbertson: Yeah, I kinda like to think of the entire process after the Kickstarter is over as fulfillment, because you're like you're.

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Tad Eggleston: There's truth to that.

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Dillon Gilbertson: Yeah, like, you're you're gathering the things that you need to mail.

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Tad Eggleston: Right. Everything's everything's still coming together.

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Tad Eggleston: Do you start putting together the boxes of the things that have more than comics in them ahead of time?

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Tad Eggleston: Man.

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Dillon Gilbertson: I've started sorting those things, but I have not started putting them in boxes.

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Tad Eggleston: Okay.

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Matt: So.

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Tad Eggleston: January, 1979.

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Tad Eggleston: Heavy metal.

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Matt: This is like.

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Tad Eggleston: How do we even describe this? This is a.

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Dillon Gilbertson: What a cover!

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Peter Eggleston Connor: Lot of cover.

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Matt: Like.

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Peter Eggleston Connor: Can you share your screen so we can see it, though.

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Tad Eggleston: Oh, yeah. Yeah.

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Peter Eggleston Connor: I could do that.

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Peter Eggleston Connor: that our viewers can see it so we could just have an experience where you describe to cover to us, and we.

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Tad Eggleston: Yes, but it but

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Tad Eggleston: it would be good if you guys also were describing, because because you you guys describe better than I do. I mean.

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Peter Eggleston Connor: You could describe it to us, and we could act as a more like the viewers, and be like.

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Tad Eggleston: Oh, okay. Yeah. Yeah.

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Peter Eggleston Connor: Very good, interesting.

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Dillon Gilbertson: Imagine a centaur.

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Dillon Gilbertson: That's the word. I was looking for

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Dillon Gilbertson: Centaur Rocking Horse. But the human half is also slowly morphing into horse.

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Peter Eggleston Connor: Well, the head, specifically is, is morphing. No worries bit like a zombie.

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Matt: And mortally wounded.

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Dillon Gilbertson: Yeah.

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Tad Eggleston: Being ridden by an elf.

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Dillon Gilbertson: The elf is using his hands as.

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Tad Eggleston: As stirrups.

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Dillon Gilbertson: Which is awesome.

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Matt: Interesting.

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Tad Eggleston: Yeah, yeah.

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Tad Eggleston: the Elf actually seems way better crafted than the rest. The rocking part and the Elf seem well crafted, and the rest of it seems like.

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Peter Eggleston Connor: Whoa!

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Dillon Gilbertson: It's rotting from the inside.

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Matt: Right.

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Peter Eggleston Connor: I don't know if that's not well crafted. I just think that's a particularly artistic style of choice.

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Dillon Gilbertson: Probably looks exactly as intended making it well crafted, but

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Matt: Right.

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Peter Eggleston Connor: Stainly crowded, pretty, creepy. I will.

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Dillon Gilbertson: So, yeah.

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Matt: It's nightmare.

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Tad Eggleston: So.

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Matt: For sure.

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Peter Eggleston Connor: Miracle, for sure.

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Tad Eggleston: Yeah, yeah.

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Tad Eggleston: And that's the cover by Joe Ellen trilling the rocking centaur.

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Tad Eggleston: So yeah, and did you guys notice that we're missing our chain mail.

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Dillon Gilbertson: No.

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Tad Eggleston: And our Ms. Heavy metal as well as an Ad. Probably.

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Peter Eggleston Connor: Hang on!

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Matt: Kind of yeah.

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Tad Eggleston: Straight from ultimate negotiation to Monsieur Glauglau.

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Peter Eggleston Connor: Oh, so we didn't reach email at all the time. That's fine.

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Tad Eggleston: Or actually, it might actually go all the way to station 34.

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Peter Eggleston Connor: We might not have had that my circle out loud.

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Peter Eggleston Connor: and I wanna check to see if we have one sharp.

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Tad Eggleston: I like to. I think we.

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Dillon Gilbertson: That was good.

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Tad Eggleston: Yeah.

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Tad Eggleston: Eventually, it was.

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Peter Eggleston Connor: I thought I was gonna see that somewhere. And then, because a lot of times eventually picture as a picture somewhere else in the comic. But I don't.

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Tad Eggleston: Right.

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Dillon Gilbertson: I mean, there are a lot more elephants in the issue.

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Matt: Oh, they're really.

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Peter Eggleston Connor: I mean eventually didn't did mention that there was going to be a lot of elephants in this issue.

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Dillon Gilbertson: I love that it said in the future. The like. What was it? The the fantastical, sunken, sunken state of California will be scientifically disproven. The mythical. The myth of the fabulous undersea kingdom, called California, will be scientifically disproven.

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Peter Eggleston Connor: I feel like we're on our way to that.

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Tad Eggleston: Yeah.

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Dillon Gilbertson: That was pretty humorous. I liked that a lot.

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Peter Eggleston Connor: It was pretty, impressive.

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Tad Eggleston: Proving once again that, like we're not living through unprecedented times.

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Dillon Gilbertson: Yeah. Heavy metal precedent.

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Tad Eggleston: Even if they are infuriating, and and possibly to the nth degree of precedence.

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Tad Eggleston: Yeah.

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Dillon Gilbertson: I like the the bus like the bus a lot.

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Peter Eggleston Connor: Yeah, I was very, very happy with the bus was too.

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Dillon Gilbertson: There's not a whole lot to say about it other than that. It was good.

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Tad Eggleston: Yeah.

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Peter Eggleston Connor: I mean, we could talk about it in a sort of metaphorical way. I guess.

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Tad Eggleston: Well, yeah, public transportation can handle climate change.

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Matt: Okay.

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Peter Eggleston Connor: That's less metaphorical and more, you know, literal, but sure.

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Dillon Gilbertson: Tell me.

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Tad Eggleston: Well, that's the metaphor being being told, at least, as I see it.

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Dillon Gilbertson: That the met is the metaphor that in the, in, the, in the wake of disaster, that there's always something good to reach for. Maybe.

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Tad Eggleston: No, I mean, maybe, but I was thinking like straight off of your California under the sea being disproven.

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Tad Eggleston: the car sinks underwater, the bus floats on top of it.

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Dillon Gilbertson: I think it's more abstract than that. I think it's like he's inside of the reflection already.

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Dillon Gilbertson: And so, as he goes up into onto the bus. Stop, he ends up being on the top side of the reflection

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Dillon Gilbertson: and ends up right? So like, if you look on the second class panel

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Dillon Gilbertson: like he. He's now also down below, and I mean the whole the whole bottom row, I guess, of panels. I thought it was more abstract than.

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Tad Eggleston: Well, no, I think there's an element of that. But but where I'm going to say that it's not strictly abstract is between the 3rd and 4th panel he climbs out of the water and on top of the bus sign.

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Peter Eggleston Connor: Yeah, there is that.

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Tad Eggleston: See his feet.

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Peter Eggleston Connor: I just took it as like, you know, there's something to rely on, even in the worst of times. So.

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Dillon Gilbertson: Loading, bus.

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Peter Eggleston Connor: But, you know.

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Peter Eggleston Connor: want to take it to the level of oh, the the buses will still keep running even as the world goes. Shit.

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Tad Eggleston: I don't know if I'm taking it that way. I'm taking it more as like we can make decisions that

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Tad Eggleston: will help us.

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Dillon Gilbertson: That combat our environment.

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Tad Eggleston: Right like. If more people rode the bus.

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Dillon Gilbertson: More people rode the bus, we'd focus our efforts and our funding on floating bus technology. And then we'd all be better off for it.

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Peter Eggleston Connor: Something like that. But not all.

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Peter Eggleston Connor: Is it floating? It's like smooth floating like it. It runs on water like it does on land.

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Dillon Gilbertson: Yeah, it's interesting that there are no paddles on the wheels yet. The wheels don't have traction to move.

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Tad Eggleston: They're very.

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Dillon Gilbertson: They're.

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Tad Eggleston: They're.

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Peter Eggleston Connor: Very advanced science.

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Tad Eggleston: Very advanced science.

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Peter Eggleston Connor: It's it's treating the water like the water is land.

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Tad Eggleston: Right, incredibly advanced science.

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Dillon Gilbertson: I think what really.

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Dillon Gilbertson: I think what we cannot see is that it's not 4 wheels. It's actually 2 long skis, and that there's like a propeller in the back that's pushing.

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Peter Eggleston Connor: Well, what I was also is, it could just be that he he got up on top of the bus sign, and then all the water froze over.

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Tad Eggleston: That could be possible.

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Dillon Gilbertson: So, possible. So, now, okay.

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Peter Eggleston Connor: Now.

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Tad Eggleston: How he survived the the ice age that began after the sea levels rose.

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Peter Eggleston Connor: Sure!

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Tad Eggleston: And then the bus came by him.

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Peter Eggleston Connor: I didn't think we'd get that.

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Dillon Gilbertson: I didn't think we'd get so much mileage out of this comic.

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Peter Eggleston Connor: Sorry. Sorry. A dead centaur. Are we beating a dead center.

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Dillon Gilbertson: He did, said, No, we're riding it. We're riding it on.

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Tad Eggleston: I am.

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Matt: Looking at it back and forth.

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Dillon Gilbertson: Yeah.

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Tad Eggleston: I didn't know we would either, but like the more I stare at it, the more I love it. So.

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Dillon Gilbertson: Yeah, I love.

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Tad Eggleston: I'm not shocked that we got so much mileage out of.

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Peter Eggleston Connor: I'm not shocked either.

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Matt: Mileage off the bus. That's funny.

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Tad Eggleston: And then we hit some.

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Dillon Gilbertson: Buses on water? Is it technically leagues and not miles? Is that

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Dillon Gilbertson: not not the speed? I think.

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Matt: Not a water guy.

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Peter Eggleston Connor: I think that might have entered hell.

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Tad Eggleston: But yeah, the the I love. How

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Tad Eggleston: the 4 panels across the top also kind of seem like they're a hanging tapestry.

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Dillon Gilbertson: The reflection, too. Right? Yeah. Which also brings it back to the bus.

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Tad Eggleston: Right. We're just gonna keep going back to the bus.

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Peter Eggleston Connor: I think I think inbound.

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Dillon Gilbertson: I think the last comic is a precursor to this, because, you see, he comes out there.

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Matt: I just don't see the elephant.

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Tad Eggleston: Yeah, we're.

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Peter Eggleston Connor: You're not looking hard enough, Matt.

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Tad Eggleston: Think this rock formation over here could be the elephant's foot, yeah, or a trunk.

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Peter Eggleston Connor: I mean, yeah, I was, gonna say, we're trunk. I I agree with Dylan on.

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Peter Eggleston Connor: It's wrong.

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Dillon Gilbertson: Yeah, it's a cool 1st page. I like that. I like those 1st 4 panels.

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Tad Eggleston: I don't know that I've ever seen a a skeleton sitting cross-legged before.

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Tad Eggleston: It's kind of cool.

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Dillon Gilbertson: Every meadows got you covered.

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Tad Eggleston: Yeah.

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Peter Eggleston Connor: You have now.

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Tad Eggleston: Yep, that's right.

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Peter Eggleston Connor: Who like us, his boyfriend.

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Tad Eggleston: I think so.

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Peter Eggleston Connor: Hmm!

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Peter Eggleston Connor: And he's running around naked, chasing her.

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Peter Eggleston Connor: and then one guy won't talk to him.

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Tad Eggleston: Well.

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Matt: You know he's got a good reason.

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Peter Eggleston Connor: Because.

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Tad Eggleston: Remember he's in hell, or something like that.

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Peter Eggleston Connor: Yeah, in this case it's he won't talk to him, because Sinbad essentially sent him to the afterlife.

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Peter Eggleston Connor: Apparently.

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Tad Eggleston: He bears a grudge. You and your relentless adventuring brought us here.

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Tad Eggleston: All of us have fallen on your selfish crusades.

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Tad Eggleston: Oh, so this is all the people who have died with him.

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Peter Eggleston Connor: Yeah, except.

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Matt: Sure.

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Peter Eggleston Connor: Don't think I think it's just a premonition or dream.

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Tad Eggleston: Or maybe his wife is dead now, and we didn't. That happened off because of it.

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Peter Eggleston Connor: What I mean is, if you go to the next page. I don't know anything about his wife, but if you go to the next pages, I'm pretty sure, like the 2 people he talks to are literally the 2 people who are

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Peter Eggleston Connor: he's talking to right here, but I don't remember like that's actually true or not. That's just how I read it.

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Tad Eggleston: Right.

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Peter Eggleston Connor: That like after he gets the light from the 2 lions.

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Matt: The Torque.

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Peter Eggleston Connor: I really like, you know.

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Tad Eggleston: This is this.

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Peter Eggleston Connor: By the court wage. Yeah.

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Tad Eggleston: Torch this, this torch page is pretty pretty epic.

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Tad Eggleston: Both torch pages are.

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Peter Eggleston Connor: Yeah, but but

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Tad Eggleston: The the pizza cut towards pages.

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Peter Eggleston Connor: Yeah, definitely.

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Matt: Yeah, this issue of sinbad is laid out. Very well.

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Tad Eggleston: Yeah.

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Peter Eggleston Connor: Yeah, she she says, Bram, praise Allah! You're still alive, and then you get the

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Peter Eggleston Connor: the man with the the real reason that the guy can't talk.

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Matt: Yeah. Guys tongue. Cut out.

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Peter Eggleston Connor: I thought it was the other guy who couldn't talk in there anyhow. Like they swap place.

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Tad Eggleston: Sure.

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Peter Eggleston Connor: Real life.

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Tad Eggleston: This was fun!

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Peter Eggleston Connor: And that is to be continued.

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Tad Eggleston: Yep, we got somewhere to go.

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Dillon Gilbertson: And then we've got.

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Tad Eggleston: Only connect the tumor.

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Dillon Gilbertson: I thought this one was pretty pretty interesting.

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Tad Eggleston: Was.

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Peter Eggleston Connor: Pretty short I liked where it ended.

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Dillon Gilbertson: The brain is like a malformation in the body that's causing all these problems like they got.

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Peter Eggleston Connor: Headaches, migraines, anxiety, insomnia, nightmares, fainting spells, oceans, passions.

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Peter Eggleston Connor: They had an operation to get rid of all those things.

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Tad Eggleston: Yep, got rid of the brain, the spinal cord, and the nerve endings, and now everything's good.

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Dillon Gilbertson: Complicated tumor. Get rid of that thing.

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Peter Eggleston Connor: Oh, yeah.

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Peter Eggleston Connor: Let me go right into another comic, and this confused me for a second. I had.

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Dillon Gilbertson: Yeah, I was. I was also confused for a moment.

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Peter Eggleston Connor: Like? Is this still the same comic? Am I.

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Tad Eggleston: Nope, Nope, this is airtight garage, baby.

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Dillon Gilbertson: Because it also it also says that he's inside of it in intestine. And I was like, all right. So now we're talking about other body parts as being problematic.

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Peter Eggleston Connor: And like you notice that it says Mobius, but it doesn't say airtight garage until.

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Tad Eggleston: The next page.

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Peter Eggleston Connor: Wonder of the next page, but it just barely says at this time.

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Tad Eggleston: Yeah.

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Peter Eggleston Connor: And so it has our story so far, too, but it also slides.

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Dillon Gilbertson: I want to point out. I'm just now noticing this, and I doubt it's going to continue past this story. But the bus story sort of dovetailed into the Sinbad story, which sort of I guess Sinbad didn't dovetail into anything.

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Tad Eggleston: Alright!

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Dillon Gilbertson: But that previous story dovetailed into into airtight.

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Peter Eggleston Connor: No, on the other side of that door was this, and then this dovetailed into it.

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Dillon Gilbertson: Oh, okay! Alright! Alright!

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Peter Eggleston Connor: Sorry. On the other side of the door was the our tumor story, and then that.

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Dillon Gilbertson: Yeah.

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Peter Eggleston Connor: Uptail to Decker type garage.

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Dillon Gilbertson: Alright! I'll join.

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Peter Eggleston Connor: I dealt with being black and white.

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Dillon Gilbertson: I'll accept it.

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Tad Eggleston: I do love the uniform that he has to wear to go to.

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Matt: Oh, yeah.

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Tad Eggleston: To earth, alia zt to make music or no, that that's the other guy he's going to.

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Peter Eggleston Connor: Oppolia, sdx.

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Tad Eggleston: Yeah.

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Peter Eggleston Connor: Find Eric, Cornelius.

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Tad Eggleston: Yeah.

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Tad Eggleston: And he essentially needs a Hawaiian shirt to do it. That's his uniform Hawaiian shirt and sandals.

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Matt: Better than the other guys.

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Tad Eggleston: It's looking very magnum pi.

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Tad Eggleston: Before magnum pi.

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Peter Eggleston Connor: Pushed right in.

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Tad Eggleston: And then we've got more of telefield, which is beautiful and weird.

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Peter Eggleston Connor: Yeah, I got you.

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Tad Eggleston: Decided to give us a Hitler.

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Dillon Gilbertson: Yeah.

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Tad Eggleston: And and.

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Peter Eggleston Connor: Yeah, for me.

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Tad Eggleston: Pretty much anytime. I see Hitler in a story. I'm like, if it's not clearly and obviously the horrible bad guy I'm done, and it's not clearly and obviously the horrible bad guy here.

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Dillon Gilbertson: Here! He.

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Peter Eggleston Connor: Yeah, I was a little perturbed by that, too.

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Peter Eggleston Connor: What the hell is going on with that I mean to be fair.

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Peter Eggleston Connor: or to at least consider it. It's a fair, apparently, in a sequence of

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Dillon Gilbertson: Other batshit crazy things.

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Tad Eggleston: Yeah, it.

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Peter Eggleston Connor: It's a.

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Tad Eggleston: Drugged out orgy type thing. But.

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Peter Eggleston Connor: Yeah. It's like everybody's conscious. Got like zap together.

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Tad Eggleston: Right.

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Dillon Gilbertson: Including.

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Peter Eggleston Connor: So somewhere in that crowd is.

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Matt: Someone thinking that.

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Tad Eggleston: Right.

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Peter Eggleston Connor: I had.

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Dillon Gilbertson: Yeah.

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Matt: Yeah.

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Dillon Gilbertson: Someone sexualizing Hitler, because that's what it looks like. They're kind of doing.

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Tad Eggleston: Yeah.

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Peter Eggleston Connor: And then I mean, like they exit. And they're like

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Peter Eggleston Connor: that was some fucked up shit.

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Peter Eggleston Connor: So it wasn't super obvious, like, Oh, this is like the enemy, but it's they're still trying to. So I mean, it does sort of seem like they're saying that was a fucked up experience like.

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Tad Eggleston: I'll give you that. I'll give you that idea. This this is not nearly as bad as Heilman.

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Matt: No, but.

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Peter Eggleston Connor: Yeah, I was already like, yeah, I was already.

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Tad Eggleston: Go ahead!

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Peter Eggleston Connor: I was. Gonna say.

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Peter Eggleston Connor: if they didn't have Hitler and or the swastika and all that like, it would have been like probably a.

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Dillon Gilbertson: Okay.

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Peter Eggleston Connor: So I'm not telling, saying it. It's

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Peter Eggleston Connor: it's even a good use. I'm just saying like

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Peter Eggleston Connor: I kinda get it. But it's.

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Dillon Gilbertson: Yeah, yeah.

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Tad Eggleston: I mean, I essentially up until that point. It's like, Oh, you wanted to draw an orgy. So you came up with a.

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Dillon Gilbertson: It learns.

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Tad Eggleston: Like paper, thin.

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Tad Eggleston: thin plot to explain why you were drawing an orgy. But then you throw Hitler in, and I'm just done

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Tad Eggleston: Hitler in your orgy.

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Peter Eggleston Connor: I don't know, man, it was the seventies.

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Tad Eggleston: I mean, but like this.

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Peter Eggleston Connor: It was very.

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Tad Eggleston: Ponish the guy that's grabbing her boobs.

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Dillon Gilbertson: Go ahead!

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Tad Eggleston: Like.

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Dillon Gilbertson: I thought.

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Tad Eggleston: You're going to put Hitler in.

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Peter Eggleston Connor: Not. I'm not. I'm still not defending Hitler.

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Dillon Gilbertson: He was like.

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Peter Eggleston Connor: It was the seventies.

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Dillon Gilbertson: I thought he looked kind of like a pudgy, characterized Indiana Jones.

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Tad Eggleston: Well again before Indiana Jones, but maybe.

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Dillon Gilbertson: Oh, so 79, no hit.

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Tad Eggleston: Yeah.

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Dillon Gilbertson: Jones came out in the seventies, didn't it?

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Tad Eggleston: 80.

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Matt: What was that guy's name?

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Matt: That's my envision.

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Tad Eggleston: Yeah, yeah. But but then I feel like there needs to be a panel where he looks up and sees Hitler and like removes his head somehow.

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Dillon Gilbertson: Yeah.

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Peter Eggleston Connor: I don't know. This whole comic is like psycho trip.

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Dillon Gilbertson: Yeah, it's a wild comic. We could probably just chalk it up to it, being a weird comic.

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Matt: But I'm not definitely doesn't get my favorite panel vote.

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Peter Eggleston Connor: No, not my favorite comic, even like I'm just.

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Matt: Same.

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Peter Eggleston Connor: Do it.

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Tad Eggleston: Exterminator 17. Those of you who like exterminator 17. Do you still like exterminator? 17.

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Peter Eggleston Connor: The yes.

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Tad Eggleston: Okay.

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Dillon Gilbertson: Yeah.

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Matt: Thank you.

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Dillon Gilbertson: Also a questionable yes.

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Matt: Ye? Yeah, I mean, it didn't lose me lose me. So yeah, I still like it.

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Tad Eggleston: I still haven't had it. Grab me.

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Peter Eggleston Connor: That's fair.

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Peter Eggleston Connor: Oh, so far it's like they're on this like long standing mission. And now they're dealing with like the church of the robots, telling them, oh, you want to like, take your brain out and shuts the door behind him, and then bashes his way out of the

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Peter Eggleston Connor: the enclosure.

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Tad Eggleston: Yeah.

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Peter Eggleston Connor: That's just my interpretation of it.

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Peter Eggleston Connor: And then they're like.

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Tad Eggleston: I mean, it's got some cool art.

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Tad Eggleston: and I feel like he's getting better at not being disproportional.

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Dillon Gilbertson: Yeah.

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Matt: Yeah. Not having tangents in his panels.

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Dillon Gilbertson: Yeah. Exterminator, 17 seems is a story and comic that has a lot of cool things. And like, it's, it's so close, just being like

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Dillon Gilbertson: amazing and awesome like. There's a lot of. There's things look really cool. Seems like there's cool ideas floating around that they're they're doing stuff. But I just just like the way it's put together is.

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Tad Eggleston: Yeah.

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Peter Eggleston Connor: Yeah.

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Matt: You can buy that. Yeah.

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Peter Eggleston Connor: I'll sign off on that. Yeah.

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Tad Eggleston: Ultimate negotiation.

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Matt: This might be my favorite story. I love this.

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Peter Eggleston Connor: Sorry. I thought this was hilarious.

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Dillon Gilbertson: Yeah.

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Tad Eggleston: I I concur.

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Tad Eggleston: I totally concur. I mean one of the the

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Tad Eggleston: great uses of Sci-fi has always been to project very human traits onto nonhumans to make us

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Tad Eggleston: to force us to like look at them so the idea that they would.

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Tad Eggleston: without even thinking about it, behead the human

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Tad Eggleston: emissaries, so that they could get through the door because their heads are removable.

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Matt: So everyone's.

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Tad Eggleston: And then get upset that they don't talk.

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Matt: Yep.

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Tad Eggleston: It's just, I mean, that's as human as you can be. I assumed that you're like me.

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Tad Eggleston: I accidentally killed you, and it's your fault.

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Dillon Gilbertson: Yeah, it. The the concept of it kind of reminded me of. I can't remember what they're called the the little orange monsters in in labyrinth when they try to remove Sarah's head. You ever know what I'm talking about?

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Dillon Gilbertson: There's this whole. There's this whole sequence where these red orange goblins are like they're they're taking off their own body part. They're throwing around, throwing

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Dillon Gilbertson: each other's heads around. They're like, Come on

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Dillon Gilbertson: off your head, and they're like they're trying to take it off to throw it around.

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Peter Eggleston Connor: I have to admit. I don't think about seeing all labyrinth, and I did rectify that.

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Tad Eggleston: I. I compare at least 3 things in my life every day to something in labyrinth.

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Matt: I haven't seen labyrth in years.

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Tad Eggleston: I'm going to need to watch it again.

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Dillon Gilbertson: Yeah, most of it is David Bowie's codpiece.

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Peter Eggleston Connor: Feel like I saw, like probably part of it while we were in the dorms at some point. And now I think it was your fault.

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Dillon Gilbertson: Yeah, it's right. It's probably true.

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Dillon Gilbertson: It's so good, though.

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Peter Eggleston Connor: It's kind of sad.

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Tad Eggleston: You never saw it before. That cause I I watched it with the kids.

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Peter Eggleston Connor: I'm pretty sure I've seen parts of it here and there. I just don't remember ever seeing all of it.

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Peter Eggleston Connor: And also there was a time where you're watching it with the kids in your small right? And.

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Dillon Gilbertson: I think I think.

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Tad Eggleston: Or my dorm room? Or, yeah, yeah, okay.

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Dillon Gilbertson: I think Eggers is doing a remake of labyrinth, or maybe a sequel or something to it. Now.

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Peter Eggleston Connor: Interesting.

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Dillon Gilbertson: Good, anyway.

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Dillon Gilbertson: I love labyrinth.

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Peter Eggleston Connor: When they went to war after 3 failed. Diplomatic attempts.

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Tad Eggleston: Yeah.

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Matt: And that's the funniest part.

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Tad Eggleston: It is, and also, I mean, totally the most human part.

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Matt: Completely avoidable, but.

401
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Tad Eggleston: You know, on the day that our fearless leader doubled down and did. No, no, no.

402
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Tad Eggleston: we we mean it. We we want to build a resort in Palestine, and no, they won't be able to come back because we're going to build them

403
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Tad Eggleston: much better houses somewhere, I don't know where, but somewhere.

404
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Peter Eggleston Connor: Yeah.

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Tad Eggleston: And then station 3 4.7 2 8,

406
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Tad Eggleston: which I think was silent and involved. Elephants. Yeah.

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Peter Eggleston Connor: The construction of elephants.

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Tad Eggleston: And.

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Matt: All in all, I liked it.

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Matt: I don't quite understand the point, and why the male and female symbols aren't correct. Every panel. But you know all in all. It was okay.

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Peter Eggleston Connor: Alright. Correct number. Now, what?

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Matt: No, the arrow goes up and the cross goes down.

413
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Peter Eggleston Connor: cause in 1990 or sorry, 1979. They apparently just knew the symbols, but didn't know that. You know that they were specifically supposed to go up, and the other was specifically supposed to go down.

414
00:25:27.800 --> 00:25:30.390
Tad Eggleston: And and why does the arrow go up?

415
00:25:30.970 --> 00:25:33.530
Tad Eggleston: I feel like that's a very misogynist.

416
00:25:33.530 --> 00:25:34.803
Matt: Yeah, opinion.

417
00:25:36.600 --> 00:25:38.929
Tad Eggleston: Why can't the arrow go down.

418
00:25:40.370 --> 00:25:41.840
Peter Eggleston Connor: That was up.

419
00:25:41.840 --> 00:25:45.585
Tad Eggleston: Usually it's not, but when it's exciting.

420
00:25:47.660 --> 00:25:52.519
Peter Eggleston Connor: No, no, man, you're not understanding. It's trajectory. It goes up, not.

421
00:25:53.630 --> 00:25:57.989
Matt: Well, well, doesn't doesn't that all depend on positioning.

422
00:26:00.150 --> 00:26:08.880
Peter Eggleston Connor: We assume from a bodily standpoint, that the direction that is going is

423
00:26:12.870 --> 00:26:13.430
Peter Eggleston Connor: where.

424
00:26:13.430 --> 00:26:13.900
Tad Eggleston: No, no.

425
00:26:13.960 --> 00:26:22.941
Peter Eggleston Connor: From your heart to your head is always considered the upward direction regardless direction it's facing in

426
00:26:23.560 --> 00:26:25.089
Tad Eggleston: Well, I mean I.

427
00:26:25.090 --> 00:26:25.660
Peter Eggleston Connor: Yeah, imagine.

428
00:26:25.660 --> 00:26:29.090
Tad Eggleston: Could get into situations where it's not going up. Then.

429
00:26:30.610 --> 00:26:32.290
Matt: Well, we can always.

430
00:26:32.290 --> 00:26:33.740
Tad Eggleston: Create that way.

431
00:26:34.700 --> 00:26:37.560
Peter Eggleston Connor: No, no, no, you you misunderstood.

432
00:26:37.750 --> 00:26:38.650
Peter Eggleston Connor: It's going.

433
00:26:43.610 --> 00:26:47.109
Peter Eggleston Connor: I feel like I'm having a dumb argument anyhow.

434
00:26:47.110 --> 00:26:51.040
Tad Eggleston: I know, and I'm deliberately keeping it a dumb argument cause that's better than.

435
00:26:51.830 --> 00:26:52.429
Peter Eggleston Connor: No.

436
00:26:52.430 --> 00:26:54.999
Tad Eggleston: To do it in any sort of intelligent.

437
00:26:55.000 --> 00:26:55.909
Peter Eggleston Connor: Alright, I'm just.

438
00:26:55.910 --> 00:26:56.750
Tad Eggleston: At which point it.

439
00:26:56.750 --> 00:26:58.889
Peter Eggleston Connor: Yeah, we can either move on.

440
00:26:58.890 --> 00:27:03.510
Peter Eggleston Connor: Hail had a dumb argument too recently, and I don't want to talk about it.

441
00:27:05.940 --> 00:27:06.740
Tad Eggleston: Like I said.

442
00:27:06.740 --> 00:27:08.510
Matt: Gail. Yes.

443
00:27:09.360 --> 00:27:10.210
Dillon Gilbertson: I.

444
00:27:10.210 --> 00:27:11.639
Matt: Haven't even solve it so far.

445
00:27:11.640 --> 00:27:15.409
Dillon Gilbertson: I think I would have loved Gale if I could have read it.

446
00:27:15.700 --> 00:27:16.290
Tad Eggleston: Yeah.

447
00:27:17.210 --> 00:27:25.080
Dillon Gilbertson: About halfway through, about halfway through I started to get a headache from squinting and trying to sometime after age. I just couldn't.

448
00:27:25.820 --> 00:27:33.270
Peter Eggleston Connor: I could read it. I thought I thought it was pretty good. I liked it. But yeah, I think if if it had a better fonting and a little bit

449
00:27:33.380 --> 00:27:38.090
Peter Eggleston Connor: clear. Who was talking when cause I figured it out, I think, but.

450
00:27:38.090 --> 00:27:38.800
Tad Eggleston: Yeah.

451
00:27:38.800 --> 00:27:41.090
Peter Eggleston Connor: You know, it would have been nice just.

452
00:27:41.090 --> 00:27:47.840
Tad Eggleston: I also think, and like this is

453
00:27:48.500 --> 00:27:59.000
Tad Eggleston: purely from an aesthetic standpoint. From a storytelling standpoint I won't guarantee it, but I feel like the early pages were too much one color or another.

454
00:27:59.000 --> 00:27:59.600
Dillon Gilbertson: Other.

455
00:27:59.600 --> 00:28:00.040
Matt: Yeah.

456
00:28:00.040 --> 00:28:03.559
Tad Eggleston: I think that they would have worked a little bit better.

457
00:28:03.740 --> 00:28:04.140
Dillon Gilbertson: Yeah.

458
00:28:04.140 --> 00:28:08.359
Tad Eggleston: Like like this page is all between

459
00:28:08.470 --> 00:28:13.920
Tad Eggleston: red and yellow and orange, and this page is all yellow, blue, green.

460
00:28:13.920 --> 00:28:14.690
Dillon Gilbertson: Yeah.

461
00:28:14.690 --> 00:28:16.510
Matt: It was colored that way on purpose.

462
00:28:17.050 --> 00:28:19.180
Tad Eggleston: I understand.

463
00:28:19.900 --> 00:28:22.969
Peter Eggleston Connor: I don't know. I kinda liked it honestly.

464
00:28:23.300 --> 00:28:29.589
Tad Eggleston: I. And when that's why I started with, I think that there could be a storytelling

465
00:28:30.000 --> 00:28:32.920
Tad Eggleston: reason for it, but it made it harder for me to read.

466
00:28:32.920 --> 00:28:33.450
Matt: Yeah.

467
00:28:35.450 --> 00:28:38.900
Tad Eggleston: So I don't know that I picked up the story the way I was supposed to.

468
00:28:38.900 --> 00:28:40.070
Peter Eggleston Connor: That's fair.

469
00:28:40.840 --> 00:28:45.360
Tad Eggleston: Because I was having trouble, like really managing to figure out what was going on.

470
00:28:46.240 --> 00:28:47.540
Matt: Well, I think they're different locations.

471
00:28:48.560 --> 00:28:50.030
Tad Eggleston: I do, too.

472
00:28:50.530 --> 00:28:53.949
Dillon Gilbertson: Though I think one of them might be inside the other.

473
00:28:54.240 --> 00:28:54.810
Matt: It's a bad.

474
00:28:54.810 --> 00:28:55.330
Matt: I see.

475
00:28:55.330 --> 00:28:55.750
Matt: Yeah.

476
00:28:55.750 --> 00:28:56.880
Peter Eggleston Connor: Yeah, maybe.

477
00:28:56.880 --> 00:28:58.220
Matt: Interpretation.

478
00:28:58.457 --> 00:29:04.150
Peter Eggleston Connor: I'm not sure. I think one of them is inside the other. I think one of them is supposed to be this other world.

479
00:29:04.370 --> 00:29:09.389
Peter Eggleston Connor: But I'm not entirely sure. Maybe maybe it's not. Maybe that's just the end.

480
00:29:09.910 --> 00:29:10.790
Tad Eggleston: Right.

481
00:29:14.570 --> 00:29:17.630
Tad Eggleston: This page is cool. This page. I like a lot.

482
00:29:17.630 --> 00:29:18.320
Dillon Gilbertson: Hmm.

483
00:29:19.160 --> 00:29:20.460
Tad Eggleston: Remember what's happening on this.

484
00:29:20.460 --> 00:29:23.470
Dillon Gilbertson: This is where I stopped reading because I couldn't.

485
00:29:23.470 --> 00:29:35.389
Tad Eggleston: This is. This is our well, not quite our yin, Yang, because we don't have our dots and our fallen dragon, and we've got lots of we've got. We've got the gamut of colors here.

486
00:29:35.390 --> 00:29:36.939
Peter Eggleston Connor: Looks like a tree to me.

487
00:29:37.420 --> 00:29:38.149
Peter Eggleston Connor: I don't see it.

488
00:29:38.150 --> 00:29:39.730
Tad Eggleston: I guess it kind of looks like that.

489
00:29:41.913 --> 00:29:44.096
Peter Eggleston Connor: Sorry.

490
00:29:49.140 --> 00:29:50.150
Peter Eggleston Connor: anyhow.

491
00:29:51.820 --> 00:29:58.580
Tad Eggleston: I don't know. I kind of stand by these being limbs, and that being a tail, and the dragon's head is off page.

492
00:29:58.580 --> 00:30:08.079
Peter Eggleston Connor: I can see it, but I'm still don't have any reason to believe it, especially since dragon has shown up before then. So like.

493
00:30:08.080 --> 00:30:08.870
Tad Eggleston: Oh whatever!

494
00:30:09.890 --> 00:30:11.819
Peter Eggleston Connor: Point of having a fallen dragon. Now.

495
00:30:11.820 --> 00:30:12.324
Dillon Gilbertson: And.

496
00:30:13.250 --> 00:30:16.270
Tad Eggleston: Because dragons are awesome.

497
00:30:16.470 --> 00:30:19.130
Dillon Gilbertson: Who are these real, actual people? Those are drawings of.

498
00:30:19.846 --> 00:30:21.119
Peter Eggleston Connor: Aren't awesome.

499
00:30:21.120 --> 00:30:22.909
Matt: I was wondering the same thing, Dylan.

500
00:30:23.210 --> 00:30:25.100
Dillon Gilbertson: One of them looked like Charles Manson. For a second.

501
00:30:25.100 --> 00:30:28.969
Matt: That's what I thought I was like. No, looks like.

502
00:30:28.970 --> 00:30:31.210
Tad Eggleston: Was the other one, squeaky from.

503
00:30:31.210 --> 00:30:31.910
Dillon Gilbertson: No.

504
00:30:32.310 --> 00:30:33.639
Peter Eggleston Connor: No idea.

505
00:30:34.430 --> 00:30:37.290
Peter Eggleston Connor: No, they're supposed to be his parents. That's right.

506
00:30:37.560 --> 00:30:40.380
Dillon Gilbertson: Oh, yeah, one was a prostitute. When was it in person? Thing.

507
00:30:40.380 --> 00:30:41.430
Peter Eggleston Connor: Like, yeah.

508
00:30:42.240 --> 00:30:43.959
Peter Eggleston Connor: And you said you didn't read past that.

509
00:30:43.960 --> 00:30:46.150
Dillon Gilbertson: That was like the 1st page.

510
00:30:46.626 --> 00:30:49.483
Peter Eggleston Connor: Just asking, What did you do?

511
00:30:55.120 --> 00:30:56.130
Peter Eggleston Connor: I am.

512
00:30:56.130 --> 00:31:00.639
Dillon Gilbertson: Yeah, I'm inclined to say that I really enjoyed Gale having not read half of it.

513
00:31:00.860 --> 00:31:04.220
Peter Eggleston Connor: I enjoyed it, having read all of it.

514
00:31:04.490 --> 00:31:04.960
Dillon Gilbertson: All right.

515
00:31:04.960 --> 00:31:09.079
Matt: It was a nice. I believe this is the end. It says.

516
00:31:09.080 --> 00:31:12.920
Tad Eggleston: This this a second last beige is pretty awesome.

517
00:31:12.920 --> 00:31:18.230
Peter Eggleston Connor: Evil warlord and peace came back to earth, or something.

518
00:31:18.650 --> 00:31:21.310
Dillon Gilbertson: It's buttoned up nicely.

519
00:31:22.110 --> 00:31:24.319
Peter Eggleston Connor: And he's like I'm gonna go search for somebody.

520
00:31:28.610 --> 00:31:31.519
Peter Eggleston Connor: and we'll be the only person who lives forever. Now.

521
00:31:32.240 --> 00:31:35.790
Dillon Gilbertson: You do it. You do it, Guy, believe in you.

522
00:31:38.090 --> 00:31:40.200
Matt: Love, split.

523
00:31:40.200 --> 00:31:41.699
Tad Eggleston: It was very fun, too.

524
00:31:41.700 --> 00:31:42.100
Peter Eggleston Connor: But.

525
00:31:42.100 --> 00:31:42.840
Matt: Hilarious.

526
00:31:42.840 --> 00:31:46.739
Peter Eggleston Connor: It was. It was good, it was hilarious.

527
00:31:48.070 --> 00:31:52.110
Peter Eggleston Connor: There's a lot of like like this was a really good issue just overall.

528
00:31:52.110 --> 00:31:53.220
Matt: This is Mobius.

529
00:31:53.220 --> 00:31:54.430
Dillon Gilbertson: Jerking off, still.

530
00:31:54.430 --> 00:31:55.080
Tad Eggleston: This.

531
00:31:55.080 --> 00:31:56.159
Dillon Gilbertson: Frame on this page.

532
00:31:56.160 --> 00:31:58.080
Peter Eggleston Connor: Oh, that makes sense actually.

533
00:31:58.080 --> 00:31:58.840
Tad Eggleston: Yeah.

534
00:31:59.500 --> 00:32:00.909
Dillon Gilbertson: A jerking off right.

535
00:32:00.910 --> 00:32:02.670
Tad Eggleston: This is Mobius being funny.

536
00:32:03.750 --> 00:32:04.550
Peter Eggleston Connor: Yep.

537
00:32:04.980 --> 00:32:07.969
Matt: Pig prick of a filthy male chauvinist.

538
00:32:08.980 --> 00:32:12.382
Matt: I'll smash you in the balls.

539
00:32:14.070 --> 00:32:14.959
Matt: That's just great.

540
00:32:14.960 --> 00:32:21.040
Tad Eggleston: I just love the yeah. That jerking off still reigns supreme on the spaceship. Just that's the the

541
00:32:21.810 --> 00:32:23.410
Tad Eggleston: fantastic ending.

542
00:32:24.480 --> 00:32:25.120
Matt: Yep.

543
00:32:26.990 --> 00:32:29.130
Tad Eggleston: Where are we going here?

544
00:32:29.130 --> 00:32:30.010
Dillon Gilbertson: Think it's just a.

545
00:32:30.010 --> 00:32:30.919
Tad Eggleston: Oh, sense of wonder!

546
00:32:30.920 --> 00:32:31.580
Peter Eggleston Connor: I think it's.

547
00:32:31.580 --> 00:32:33.220
Matt: Just a like. Yep.

548
00:32:33.870 --> 00:32:36.239
Tad Eggleston: Another 2 pager. This was okay.

549
00:32:36.240 --> 00:32:36.810
Matt: Yes, and.

550
00:32:36.810 --> 00:32:38.000
Peter Eggleston Connor: They are.

551
00:32:38.000 --> 00:32:39.069
Tad Eggleston: It was so cool.

552
00:32:39.070 --> 00:32:43.010
Peter Eggleston Connor: These 2. I thought it went on like it was actually part of the next thing. Or is that.

553
00:32:43.010 --> 00:32:44.409
Matt: No, no, it's not.

554
00:32:44.410 --> 00:32:46.599
Peter Eggleston Connor: Oh, exercising gold. Okay?

555
00:32:47.280 --> 00:32:50.139
Peter Eggleston Connor: Which is Trina Robbins. And I like it.

556
00:32:50.140 --> 00:32:51.339
Tad Eggleston: That a lot.

557
00:32:51.340 --> 00:32:56.710
Peter Eggleston Connor: Missed that that was something different, but I did really like exercising gold, so.

558
00:32:57.530 --> 00:32:59.449
Matt: I wasn't thrilled with the artwork.

559
00:32:59.960 --> 00:33:02.819
Tad Eggleston: I like Trina Robin's artwork.

560
00:33:04.310 --> 00:33:14.819
Peter Eggleston Connor: I work. Okay? I mean, it's not like perfect artwork. There's a lot of things that sort of like. I understand, where you might like have troubles with it, because

561
00:33:15.850 --> 00:33:17.900
Peter Eggleston Connor: there are certainly things that.

562
00:33:21.150 --> 00:33:22.490
Matt: Alright is all of her work.

563
00:33:22.490 --> 00:33:23.260
Peter Eggleston Connor: I got it.

564
00:33:24.190 --> 00:33:26.749
Tad Eggleston: She tends to be kind of like this.

565
00:33:27.280 --> 00:33:29.950
Tad Eggleston: Okay, she does a lot of black and white, though.

566
00:33:30.150 --> 00:33:33.739
Matt: I think we've seen another piece of her artwork, probably.

567
00:33:33.740 --> 00:33:38.379
Tad Eggleston: Know if we've done any Trina Robbins yet this feels really Trina Robbins.

568
00:33:38.380 --> 00:33:39.120
Dillon Gilbertson: I love that.

569
00:33:39.120 --> 00:33:39.870
Peter Eggleston Connor: I don't know.

570
00:33:39.870 --> 00:33:40.360
Dillon Gilbertson: And.

571
00:33:40.360 --> 00:33:42.650
Tad Eggleston: Not as used to her in color.

572
00:33:42.650 --> 00:33:43.330
Matt: This wasn't.

573
00:33:43.330 --> 00:33:46.090
Tad Eggleston: I mean Trina Trina Robbins is more of an underground.

574
00:33:47.870 --> 00:33:53.810
Peter Eggleston Connor: But I still feel like we saw Trina Robbins at some point previously, and heavy metal. I could be wrong.

575
00:33:53.810 --> 00:33:56.369
Matt: We probably have, but I love.

576
00:33:56.885 --> 00:33:57.400
Peter Eggleston Connor: Call.

577
00:33:57.400 --> 00:33:58.750
Matt: Dreaming, to waking.

578
00:33:59.010 --> 00:33:59.770
Tad Eggleston: Right.

579
00:34:00.740 --> 00:34:03.199
Matt: I'll give you that. That was pretty cool.

580
00:34:03.480 --> 00:34:05.750
Peter Eggleston Connor: That was pretty awesome.

581
00:34:06.500 --> 00:34:17.079
Dillon Gilbertson: It says on the bottom there, inspired by the dream sequence in, Don't bite the sun, and I just want to say that don't bite. The sun is one of the coolest names for a story I've heard.

582
00:34:19.573 --> 00:34:19.980
Matt: To go.

583
00:34:19.980 --> 00:34:21.100
Tad Eggleston: Look it up.

584
00:34:21.480 --> 00:34:21.940
Peter Eggleston Connor: But.

585
00:34:21.940 --> 00:34:23.879
Matt: And if I try, it's too far away.

586
00:34:24.949 --> 00:34:27.239
Peter Eggleston Connor: What was this one called again the golden something?

587
00:34:27.770 --> 00:34:28.779
Matt: Exercise in gold.

588
00:34:28.960 --> 00:34:35.780
Peter Eggleston Connor: Exercising gold there right now, exercising gold.

589
00:34:37.000 --> 00:34:39.950
Matt: That's a no. Oh, dream sequence.

590
00:34:40.960 --> 00:34:42.040
Matt: Yeah, anyway.

591
00:34:42.040 --> 00:34:42.939
Peter Eggleston Connor: Alright! This

592
00:34:47.590 --> 00:34:48.630
Tad Eggleston: So.

593
00:34:52.280 --> 00:34:53.210
Peter Eggleston Connor: What do we got next?

594
00:34:55.290 --> 00:34:56.080
Peter Eggleston Connor: Elephant.

595
00:34:56.080 --> 00:34:56.940
Tad Eggleston: Offense.

596
00:34:56.949 --> 00:34:57.759
Dillon Gilbertson: This one was cute.

597
00:34:58.490 --> 00:34:59.740
Peter Eggleston Connor: This one was great.

598
00:34:59.740 --> 00:35:01.919
Dillon Gilbertson: Will hurt his feelings. He wants to be a detective.

599
00:35:01.920 --> 00:35:07.000
Peter Eggleston Connor: Man. There's like so many good ones. It's hard to choose like it's gonna be hard to choose favorites.

600
00:35:07.280 --> 00:35:10.179
Tad Eggleston: I may have chosen multiple favorites.

601
00:35:10.430 --> 00:35:10.830
Dillon Gilbertson: But.

602
00:35:11.230 --> 00:35:16.060
Peter Eggleston Connor: Sometimes you just gotta throw the rules out the window

603
00:35:16.060 --> 00:35:20.760
Peter Eggleston Connor: stamp favorite issue in like the last 12 on this one.

604
00:35:20.950 --> 00:35:22.409
Peter Eggleston Connor: And hope I'm right, because.

605
00:35:22.410 --> 00:35:28.900
Tad Eggleston: Well, the last. The last issue was really good, too. This is, this is 2 in a row that have been really really good.

606
00:35:28.900 --> 00:35:32.030
Peter Eggleston Connor: Yeah, I still think I like this one more than I like the last one.

607
00:35:32.540 --> 00:35:33.859
Peter Eggleston Connor: How much.

608
00:35:33.860 --> 00:35:34.579
Matt: I I was like.

609
00:35:34.580 --> 00:35:38.040
Peter Eggleston Connor: I'm saying that you all do. I'm just saying, I think.

610
00:35:38.040 --> 00:35:43.689
Tad Eggleston: To go back and look at the old, the last one again, to to be able to say that definitively.

611
00:35:44.760 --> 00:35:56.999
Peter Eggleston Connor: This is just my estimation, because I remember coming off of the last one and be like, Oh, those are pretty good, all right. I also might have better that. Who knows? My mindset might have been different when I was reading it too? So.

612
00:35:57.000 --> 00:35:59.990
Matt: So beautiful and so dangerous kind of pissed me off.

613
00:36:00.350 --> 00:36:06.989
Matt: Why, the story was went from intriguing to Corny when the guys like imposing made-up laws.

614
00:36:09.140 --> 00:36:10.830
Tad Eggleston: No! I loved that.

615
00:36:10.830 --> 00:36:11.930
Matt: Easy writing.

616
00:36:12.300 --> 00:36:14.230
Tad Eggleston: I loved that.

617
00:36:15.586 --> 00:36:24.529
Peter Eggleston Connor: About the the made up laws, but it does feel like it went from like this whole concept to something. I don't.

618
00:36:24.530 --> 00:36:26.840
Matt: From serious to completely not serious.

619
00:36:26.840 --> 00:36:31.540
Peter Eggleston Connor: Oh, hey! I didn't notice that there's a there's that in the second.

620
00:36:31.540 --> 00:36:36.920
Tad Eggleston: Wait a minute. You thought it was serious before I've read it as satire from the beginning.

621
00:36:37.110 --> 00:36:37.960
Matt: Well.

622
00:36:39.030 --> 00:36:44.339
Matt: okay. So we're gonna we're gonna pass up the fact that there's a Mobius character on the second panel here.

623
00:36:44.340 --> 00:36:45.939
Matt: No, I saw that that was awesome.

624
00:36:46.760 --> 00:36:47.670
Peter Eggleston Connor: I missed it until.

625
00:36:47.670 --> 00:36:47.990
Matt: Object.

626
00:36:47.990 --> 00:36:48.600
Peter Eggleston Connor: Now right.

627
00:36:48.600 --> 00:36:49.030
Tad Eggleston: I just.

628
00:36:49.387 --> 00:36:50.460
Peter Eggleston Connor: Talk about it.

629
00:36:50.460 --> 00:36:51.720
Tad Eggleston: That's pretty awesome.

630
00:36:53.810 --> 00:36:55.629
Matt: Do you think they had permission to do that.

631
00:36:57.020 --> 00:36:59.070
Tad Eggleston: Probably.

632
00:37:00.680 --> 00:37:03.300
Peter Eggleston Connor: Maybe it didn't matter as much in 1979.

633
00:37:04.050 --> 00:37:10.560
Tad Eggleston: Well, for a panel like that. It's debatable whether it's a copyright infringement or not.

634
00:37:10.560 --> 00:37:11.090
Matt: Yeah.

635
00:37:11.090 --> 00:37:16.230
Peter Eggleston Connor: Yeah, what was the name of that character? Garzac?

636
00:37:17.210 --> 00:37:18.480
Tad Eggleston: Yeah, that's our Zack.

637
00:37:18.480 --> 00:37:18.810
Matt: Is, our.

638
00:37:18.810 --> 00:37:20.109
Peter Eggleston Connor: Parzak. There we go!

639
00:37:20.110 --> 00:37:22.110
Matt: Well, didn't they spell it different every time?

640
00:37:22.260 --> 00:37:22.860
Tad Eggleston: Pretty much.

641
00:37:22.860 --> 00:37:23.280
Peter Eggleston Connor: Yeah.

642
00:37:23.280 --> 00:37:23.805
Matt: Yeah.

643
00:37:25.760 --> 00:37:31.290
Peter Eggleston Connor: Maybe one time it was our Zack, and one time it's Garza.

644
00:37:31.290 --> 00:37:40.869
Tad Eggleston: Like, like the the sergeant pepper cover, they wound up, taking a couple of people off because they got requests from estates or whatnot to take it off.

645
00:37:41.380 --> 00:37:49.730
Tad Eggleston: but it's debatable whether they had to, or whether they chose to, because it wasn't worth the headache.

646
00:37:50.200 --> 00:37:51.060
Matt: Yeah.

647
00:37:51.240 --> 00:38:03.400
Tad Eggleston: Does that make sense? But a panel inside of heavy metal is not a Beatles album cover. So you know the chances that you would find a lawyer. That thought.

648
00:38:03.400 --> 00:38:04.450
Tad Eggleston: and one of the biggest.

649
00:38:04.450 --> 00:38:05.740
Matt: World, taking.

650
00:38:06.702 --> 00:38:10.070
Tad Eggleston: Is way less likely.

651
00:38:10.850 --> 00:38:11.230
Matt: You know.

652
00:38:11.230 --> 00:38:13.889
Peter Eggleston Connor: And you might have to fight in New York or something.

653
00:38:13.890 --> 00:38:27.830
Tad Eggleston: Particularly given that Mobius was one of the founders of Metal Erlant, which was supplying most of the stories, and you know this, I think was published 1st in Metal Erlant. So it's like he would have been suing himself.

654
00:38:27.830 --> 00:38:28.610
Matt: Yeah.

655
00:38:28.980 --> 00:38:30.670
Tad Eggleston: Whether he it or not.

656
00:38:30.670 --> 00:38:36.659
Matt: Yeah, it's probably just a one of those artistic nods that the people do for each other.

657
00:38:36.660 --> 00:38:41.379
Tad Eggleston: They might not have asked his permission, but he certainly knew about it before it went to print.

658
00:38:41.380 --> 00:38:42.290
Matt: Clearly.

659
00:38:44.940 --> 00:38:49.969
Tad Eggleston: Because he was one of the founders of the organization, and this is still early on.

660
00:38:50.690 --> 00:38:53.960
Matt: Anybody else see Woody Allen and this blue guy with the blue shirt?

661
00:38:53.960 --> 00:38:55.349
Matt: I do. I do.

662
00:38:55.350 --> 00:38:56.050
Peter Eggleston Connor: Back to that.

663
00:38:57.640 --> 00:38:58.529
Matt: And I'm wondering if that's.

664
00:38:58.530 --> 00:39:00.560
Tad Eggleston: In his behavior as well.

665
00:39:00.560 --> 00:39:06.730
Matt: That's what I'm saying. Am I supposed to? Am I supposed to personify Woody Allen through this.

666
00:39:06.730 --> 00:39:09.689
Tad Eggleston: I feel like the tall guy is another.

667
00:39:15.850 --> 00:39:26.580
Tad Eggleston: I never quite well, I don't know, famous actor, but at least a a like American trope, like seventies, trope of an American man.

668
00:39:26.580 --> 00:39:27.719
Matt: Yeah, absolutely.

669
00:39:28.310 --> 00:39:33.860
Tad Eggleston: You know, because they're all. Oh, we loved having fun. But you want us to what

670
00:39:34.930 --> 00:39:41.000
Tad Eggleston: you say. They're afraid of us, but we still have to go into space alone, and you say they're really dangerous.

671
00:39:45.030 --> 00:40:05.490
Tad Eggleston: but particularly given that like part of of this whole thing is that they got their entire culture from from Earth, even though they're such more advanced civilizations that made it make perfect sense to me that they'd have a completely arcane law on the books that they only pull out when absolutely necessary.

672
00:40:07.630 --> 00:40:08.896
Tad Eggleston: Oh, God!

673
00:40:10.280 --> 00:40:11.100
Tad Eggleston: I mean.

674
00:40:11.100 --> 00:40:13.139
Matt: I am silly, I am silly, I am silly.

675
00:40:13.560 --> 00:40:14.330
Tad Eggleston: Right.

676
00:40:14.960 --> 00:40:17.009
Matt: And that's where it lost me, I'm like, Oh.

677
00:40:19.710 --> 00:40:25.749
Tad Eggleston: Well, but again they were doing that just to that was them. Bending the knee to the greater power.

678
00:40:28.430 --> 00:40:30.980
Tad Eggleston: I? Yeah, no, it didn't lose me.

679
00:40:31.440 --> 00:40:33.630
Tad Eggleston: I still love this story.

680
00:40:34.690 --> 00:40:38.970
Peter Eggleston Connor: I'm not sure it lost me, but it does feel like.

681
00:40:39.180 --> 00:40:47.039
Peter Eggleston Connor: Since the beginning of it it has taken a pretty different turn, so.

682
00:40:49.800 --> 00:40:59.090
Tad Eggleston: See, am I the only one who read the beginning of it as like wickedly satirical?

683
00:41:00.510 --> 00:41:10.700
Tad Eggleston: I mean, I admit that it's gone from from dry to to more slapstick, but but I don't feel like the tone has changed.

684
00:41:11.000 --> 00:41:11.650
Matt: Oh!

685
00:41:11.650 --> 00:41:13.540
Peter Eggleston Connor: I'm not saying that the

686
00:41:17.460 --> 00:41:29.720
Peter Eggleston Connor: how I can say that read the beginning is satirical. What I can say is like, because I think, if, like, we even went back. You know, I remember talking about like the satire with you, and like right.

687
00:41:29.850 --> 00:41:32.720
Peter Eggleston Connor: but like

688
00:41:34.130 --> 00:41:50.999
Peter Eggleston Connor: I don't know they they came to earth and picked up all these like rejects and tip them off right. And that's sort of the story so far, and then they bring bring them to to this thing. And they're like, Oh, yeah, time to get off. So get the fuck off and go figure out like whatever the hell you're doing. And it's sort of like.

689
00:41:51.900 --> 00:41:56.620
Peter Eggleston Connor: okay, what was the point in taking them away from Earth?

690
00:41:56.620 --> 00:41:57.830
Tad Eggleston: Oh, I figured it out.

691
00:41:57.830 --> 00:42:01.420
Peter Eggleston Connor: Doing the same thing.

692
00:42:04.420 --> 00:42:05.530
Matt: What is it, Ted?

693
00:42:05.530 --> 00:42:08.199
Tad Eggleston: It's Woody Allen, and Three's company.

694
00:42:12.170 --> 00:42:13.940
Peter Eggleston Connor: That's what I'm expecting.

695
00:42:13.940 --> 00:42:14.670
Matt: Remorsement.

696
00:42:14.670 --> 00:42:19.190
Peter Eggleston Connor: For the the rejects of of the world. Anyhow.

697
00:42:22.590 --> 00:42:32.780
Tad Eggleston: When I saw the 4 of them in this panel, here is when I suddenly went, okay, when did three's company start? It started in 1977. It's Woody Allen and Three's company.

698
00:42:34.240 --> 00:42:37.860
Peter Eggleston Connor: There you go, but I'm just saying like it's.

699
00:42:52.110 --> 00:42:53.720
Dillon Gilbertson: It's a. It's just.

700
00:42:55.520 --> 00:43:00.570
Peter Eggleston Connor: It. I get that satirical but sort of shifted

701
00:43:00.740 --> 00:43:09.279
Peter Eggleston Connor: all the same. It's not not that it was once not satirical. It's that it was once satirical and sort of like

702
00:43:09.460 --> 00:43:11.599
Peter Eggleston Connor: paste on one thing and then.

703
00:43:12.010 --> 00:43:16.390
Peter Eggleston Connor: Now it's satirical and paste on on a different right.

704
00:43:17.340 --> 00:43:18.110
Tad Eggleston: That's fair.

705
00:43:19.940 --> 00:43:25.620
Tad Eggleston: I am. Look definitely looking forward to seeing it as a whole.

706
00:43:27.660 --> 00:43:28.210
Peter Eggleston Connor: Yeah.

707
00:43:28.210 --> 00:43:29.190
Tad Eggleston: And may even.

708
00:43:29.190 --> 00:43:29.809
Peter Eggleston Connor: You're looking for.

709
00:43:29.810 --> 00:43:32.900
Tad Eggleston: Collection to read it as a whole, because

710
00:43:33.160 --> 00:43:41.520
Tad Eggleston: I've been enjoying it all the way through, and I'm I for me. I've I've liked the way it goes, because.

711
00:43:41.800 --> 00:43:42.980
Tad Eggleston: you know.

712
00:43:44.800 --> 00:43:51.249
Tad Eggleston: if you can go to 10,000 feet, and your life isn't being affected by it. So many of the things that that

713
00:43:51.480 --> 00:43:54.420
Tad Eggleston: are being treated as really ridiculous here

714
00:43:54.850 --> 00:44:17.040
Tad Eggleston: are really ridiculous, but they don't feel is really ridiculous, because lives depend on them, and like that to me is part of why, going from that that dry satire at the beginning to the farther away you get, the more you can see just the ridiculous nature

715
00:44:18.070 --> 00:44:19.810
Tad Eggleston: of what's going on.

716
00:44:21.990 --> 00:44:23.320
Tad Eggleston: I just. I like it.

717
00:44:24.506 --> 00:44:30.090
Peter Eggleston Connor: That's fair, I mean, if you're getting something. Oh, it's great! I

718
00:44:30.220 --> 00:44:32.039
Peter Eggleston Connor: I still enjoy it like I'm still enjoying.

719
00:44:32.040 --> 00:44:35.160
Tad Eggleston: Right. No, no, no, I know I'm not trying to change your mind. I'm just.

720
00:44:35.160 --> 00:44:36.180
Peter Eggleston Connor: Yeah, thank, you.

721
00:44:36.180 --> 00:44:37.369
Tad Eggleston: On my own.

722
00:44:37.370 --> 00:44:38.010
Dillon Gilbertson: So real, quick.

723
00:44:38.442 --> 00:44:39.740
Peter Eggleston Connor: Go ahead, Tom!

724
00:44:39.740 --> 00:44:43.329
Dillon Gilbertson: The real question is, Do any of us like 1996? Yet.

725
00:44:46.356 --> 00:44:48.660
Matt: Better than the rest.

726
00:44:52.020 --> 00:44:56.220
Peter Eggleston Connor: That he's gonna commit suicide. So it's better than the rest.

727
00:44:56.220 --> 00:44:57.990
Matt: No, he's just fed up with the suit.

728
00:44:58.690 --> 00:44:59.680
Peter Eggleston Connor: Yeah.

729
00:45:00.500 --> 00:45:11.739
Peter Eggleston Connor: he's he's just decided that he's fed up with the suit. Well, I guess we could relate it to some rather recent year, events

730
00:45:12.330 --> 00:45:13.499
Peter Eggleston Connor: of not wanting.

731
00:45:13.500 --> 00:45:18.120
Peter Eggleston Connor: Yeah, there go there, would we.

732
00:45:19.830 --> 00:45:29.560
Tad Eggleston: Being inbred and not wanting to wear a mask, even though wearing the mask, could keep you from dying. Nobody's like that in this world.

733
00:45:29.560 --> 00:45:31.899
Peter Eggleston Connor: It's not just the inbreds.

734
00:45:32.253 --> 00:45:32.960
Dillon Gilbertson: Through him.

735
00:45:34.760 --> 00:45:35.380
Dillon Gilbertson: Pretty good.

736
00:45:35.780 --> 00:45:36.560
Matt: Yep.

737
00:45:39.060 --> 00:45:41.749
Tad Eggleston: And then the back cover is just awesome.

738
00:45:41.830 --> 00:45:42.959
Dillon Gilbertson: Back over there.

739
00:45:43.780 --> 00:45:45.529
Peter Eggleston Connor: My cover was pretty awesome.

740
00:45:45.680 --> 00:45:48.560
Matt: Back cover was my favorite panel. I love the back cover.

741
00:45:48.560 --> 00:45:52.899
Dillon Gilbertson: Where's this frog? This frog's got a tail on the bottom. What is that thing.

742
00:45:53.440 --> 00:45:54.030
Matt: Fabulous.

743
00:45:54.622 --> 00:45:59.961
Peter Eggleston Connor: Pad behind it like a cluster of like.

744
00:46:00.640 --> 00:46:02.110
Dillon Gilbertson: Weird tale, anyway.

745
00:46:02.570 --> 00:46:03.570
Dillon Gilbertson: Anyway.

746
00:46:04.550 --> 00:46:09.849
Tad Eggleston: See, I just thought that was a the leg was extended a little bit

747
00:46:11.600 --> 00:46:16.330
Tad Eggleston: like it. It had just moved. So it wasn't actually squatting right now.

748
00:46:18.570 --> 00:46:21.490
Peter Eggleston Connor: I don't see a tail. I see a frog on lily pads and.

749
00:46:21.490 --> 00:46:22.800
Tad Eggleston: Yeah. That's what I see.

750
00:46:22.800 --> 00:46:25.370
Peter Eggleston Connor: The leg does look like it's a little.

751
00:46:25.980 --> 00:46:26.400
Tad Eggleston: Yeah.

752
00:46:26.400 --> 00:46:29.260
Peter Eggleston Connor: Trashed, so I'm not.

753
00:46:31.530 --> 00:46:33.660
Peter Eggleston Connor: But maybe it's a tale.

754
00:46:33.810 --> 00:46:39.640
Matt: I think it's just. I should say.

755
00:46:39.640 --> 00:46:41.420
Dillon Gilbertson: You're good. It's a good back cover.

756
00:46:41.530 --> 00:46:44.190
Matt: Yeah, let's get back on none.

757
00:46:46.390 --> 00:46:53.359
Tad Eggleston: Well, Matt got us started with his favorite panel. Is the back cover. You want to start with panels this time.

758
00:46:53.360 --> 00:46:53.860
Peter Eggleston Connor: Sure.

759
00:46:53.860 --> 00:46:59.849
Tad Eggleston: I'm gonna say, and I'm gonna cheat. I'm gonna use the whole story as my panel. I'm gonna say, the bus is my favorite panel.

760
00:47:00.096 --> 00:47:01.080
Matt: You can do that.

761
00:47:01.080 --> 00:47:01.460
Tad Eggleston: Oh!

762
00:47:02.170 --> 00:47:03.810
Peter Eggleston Connor: Can I make the rules.

763
00:47:03.810 --> 00:47:04.160
Tad Eggleston: Rules.

764
00:47:04.160 --> 00:47:05.069
Matt: That's right.

765
00:47:05.070 --> 00:47:05.410
Peter Eggleston Connor: So.

766
00:47:06.740 --> 00:47:13.710
Peter Eggleston Connor: So I'll allow it, even though I don't make the rules. So yeah, I just rewrite them as.

767
00:47:13.710 --> 00:47:14.710
Matt: Second dude.

768
00:47:15.460 --> 00:47:20.539
Dillon Gilbertson: My favorite panel got no idea who my favorite panel is.

769
00:47:20.540 --> 00:47:25.410
Peter Eggleston Connor: I still really like that? I'm gonna I'm gonna go with the the elephant on

770
00:47:26.970 --> 00:47:30.950
Peter Eggleston Connor: with all the naked people in front of it, green, naked.

771
00:47:30.950 --> 00:47:32.999
Tad Eggleston: Oh, so way back at the beginning.

772
00:47:33.000 --> 00:47:34.065
Matt: Oh, yeah. The

773
00:47:34.960 --> 00:47:37.419
Peter Eggleston Connor: It's a lot, not in a comic, but.

774
00:47:37.420 --> 00:47:37.990
Matt: Yeah, yeah.

775
00:47:39.060 --> 00:47:41.299
Tad Eggleston: So so the eventually elephant.

776
00:47:41.540 --> 00:47:43.599
Peter Eggleston Connor: Eventually elephant. Yeah.

777
00:47:43.600 --> 00:47:45.590
Matt: Is there only one dude in that picture.

778
00:47:48.110 --> 00:47:49.530
Peter Eggleston Connor: I think there's 2.

779
00:47:50.410 --> 00:47:51.260
Matt: Yeah. The guy spot.

780
00:47:51.260 --> 00:47:53.530
Tad Eggleston: There might even be 3.

781
00:47:53.720 --> 00:47:56.229
Peter Eggleston Connor: Yes, hard to tell about.

782
00:47:56.230 --> 00:48:02.309
Tad Eggleston: I feel like we've got one here, maybe one there, maybe, and one there.

783
00:48:02.310 --> 00:48:03.030
Peter Eggleston Connor: Yeah.

784
00:48:03.030 --> 00:48:03.510
Dillon Gilbertson: Yeah.

785
00:48:03.510 --> 00:48:04.530
Matt: I can see that.

786
00:48:04.810 --> 00:48:06.810
Peter Eggleston Connor: I could, I'd agree with that.

787
00:48:06.810 --> 00:48:08.049
Matt: Still, like those ads.

788
00:48:08.510 --> 00:48:10.460
Tad Eggleston: Yeah, yeah, yeah, yeah.

789
00:48:11.750 --> 00:48:16.180
Tad Eggleston: I mean, it's it's it's, I think, 2 to one.

790
00:48:16.960 --> 00:48:17.540
Tad Eggleston: Plus one.

791
00:48:17.540 --> 00:48:18.590
Peter Eggleston Connor: 3.

792
00:48:18.590 --> 00:48:20.290
Tad Eggleston: Right, 2 to one plus one.

793
00:48:23.720 --> 00:48:24.840
Peter Eggleston Connor: Oh, think my time!

794
00:48:25.980 --> 00:48:31.480
Dillon Gilbertson: I think my favorite panel is the last panel of ultimate negotiations.

795
00:48:33.210 --> 00:48:34.679
Tad Eggleston: Which is also.

796
00:48:34.910 --> 00:48:38.179
Dillon Gilbertson: The head, talking to the the not talking heads.

797
00:48:38.400 --> 00:48:39.560
Matt: Oh, yeah.

798
00:48:39.560 --> 00:48:41.450
Dillon Gilbertson: Not so talking heads, if you will.

799
00:48:42.010 --> 00:48:45.590
Matt: There were a lot of good panels on this one. But yeah, that was a good one, too.

800
00:48:50.400 --> 00:48:52.380
Tad Eggleston: Is absolutely.

801
00:48:52.380 --> 00:48:55.088
Peter Eggleston Connor: I didn't give credit to like the panel, and

802
00:48:55.390 --> 00:48:55.910
Matt: Okay.

803
00:48:57.140 --> 00:49:07.519
Peter Eggleston Connor: Well, once the cuter 76, where, like they're, they're talking about a see through door. And then they sort of show pluriness on a wall.

804
00:49:09.610 --> 00:49:10.450
Matt: Yeah.

805
00:49:11.650 --> 00:49:16.570
Tad Eggleston: Alright! What do we want next? Ongoing or story.

806
00:49:16.570 --> 00:49:20.409
Peter Eggleston Connor: How many ongoing are there in this one? That's what I want to know, because.

807
00:49:20.410 --> 00:49:21.690
Tad Eggleston: At least.

808
00:49:21.690 --> 00:49:22.530
Peter Eggleston Connor: And.

809
00:49:22.530 --> 00:49:23.300
Tad Eggleston: Or.

810
00:49:23.300 --> 00:49:26.600
Dillon Gilbertson: In bed, 1996, so beautiful, so dangerous.

811
00:49:26.600 --> 00:49:29.570
Matt: Oh, 5, I forgot. 1996, yeah.

812
00:49:29.570 --> 00:49:36.589
Tad Eggleston: You got exterminator, you got Sinbad No. 6. You've got. What's that one that had the

813
00:49:38.010 --> 00:49:43.100
Tad Eggleston: you get airtight garage. You've got Sinbad. You've got exterminator.

814
00:49:43.270 --> 00:49:45.280
Tad Eggleston: You've got Tara.

815
00:49:45.280 --> 00:49:46.740
Matt: And tell tell a field.

816
00:49:47.220 --> 00:49:48.570
Tad Eggleston: Yeah. Telefield.

817
00:49:50.210 --> 00:49:56.979
Dillon Gilbertson: I think maybe controversial pick. I'm gonna choose Gale, because I didn't read half of it. But it was.

818
00:49:56.980 --> 00:49:58.790
Dillon Gilbertson: This is my favorite. On going.

819
00:49:59.040 --> 00:50:00.029
Tad Eggleston: There you go.

820
00:50:01.570 --> 00:50:03.970
Tad Eggleston: I'm with so beautiful, so dangerous.

821
00:50:04.770 --> 00:50:08.339
Tad Eggleston: I'm I'm a big big fan of so beautiful, so dangerous.

822
00:50:08.980 --> 00:50:10.760
Matt: Doing audio.

823
00:50:10.760 --> 00:50:11.310
Peter Eggleston Connor: Ongoing.

824
00:50:11.310 --> 00:50:11.890
Matt: Right.

825
00:50:12.050 --> 00:50:12.620
Peter Eggleston Connor: Yeah.

826
00:50:12.620 --> 00:50:13.140
Tad Eggleston: Right, right.

827
00:50:13.140 --> 00:50:13.730
Matt: Going.

828
00:50:14.140 --> 00:50:14.790
Peter Eggleston Connor: You know.

829
00:50:16.142 --> 00:50:20.324
Matt: I think I think I gotta go with

830
00:50:22.590 --> 00:50:25.489
Peter Eggleston Connor: That's between Sinbad and Gale for me.

831
00:50:26.500 --> 00:50:27.960
Peter Eggleston Connor: I haven't really.

832
00:50:29.690 --> 00:50:35.039
Dillon Gilbertson: If it helps ended this one, I think.

833
00:50:35.400 --> 00:50:36.050
Peter Eggleston Connor: What?

834
00:50:36.240 --> 00:50:39.240
Dillon Gilbertson: Yale technically ended. This one. If it helps you decide at all.

835
00:50:39.584 --> 00:50:44.750
Peter Eggleston Connor: Still call count that as ongoing, though it means that there was a previous issue.

836
00:50:44.750 --> 00:50:47.660
Matt: Ongoing. Yeah, for this for this issue.

837
00:50:51.530 --> 00:50:56.969
Peter Eggleston Connor: But I'm gonna go with Gail. Yeah, I really likes this, and bad in this issue, too. So.

838
00:51:00.190 --> 00:51:06.800
Tad Eggleston: All right, the hardest and the one where I cheated big time.

839
00:51:09.010 --> 00:51:12.140
Tad Eggleston: Favorite story.

840
00:51:12.140 --> 00:51:12.480
Matt: Story.

841
00:51:13.770 --> 00:51:15.170
Matt: I'm I'm meetings.

842
00:51:15.820 --> 00:51:16.550
Dillon Gilbertson: Which one.

843
00:51:17.190 --> 00:51:19.679
Matt: Ultimate negotiations where the guys get their heads put off.

844
00:51:19.970 --> 00:51:20.880
Tad Eggleston: Yes.

845
00:51:20.880 --> 00:51:22.510
Dillon Gilbertson: I think I'm gonna go with the tumor.

846
00:51:23.710 --> 00:51:24.650
Tad Eggleston: Yes.

847
00:51:34.820 --> 00:51:36.970
Peter Eggleston Connor: Making choices.

848
00:51:40.040 --> 00:51:42.730
Tad Eggleston: Actually really make choices. I picked 4.

849
00:51:44.066 --> 00:51:47.920
Peter Eggleston Connor: I know you didn't make choices, but doesn't mean I'm not going to.

850
00:51:47.920 --> 00:51:48.850
Tad Eggleston: And that's fair.

851
00:51:49.660 --> 00:51:55.789
Peter Eggleston Connor: I'm gonna go with the boss since 2 of my other favorites were picked already. So so they're already there. And so I'm happy with that.

852
00:51:55.790 --> 00:52:00.185
Matt: See I did not pick the bus because I picked it for my panel.

853
00:52:01.070 --> 00:52:10.139
Peter Eggleston Connor: The best dual representation, both your favorite panel that's my favorite.

854
00:52:10.140 --> 00:52:18.630
Tad Eggleston: I I went with, only connected to her ultimate negotiations, split and exercising gold.

855
00:52:19.540 --> 00:52:23.670
Peter Eggleston Connor: Wait. Actually, I changed my mind. I wanna make it the elephant. What was the elephant? One.

856
00:52:25.170 --> 00:52:29.100
Tad Eggleston: The the one that want the guy that wanted to be the detective.

857
00:52:29.260 --> 00:52:30.480
Peter Eggleston Connor: Yeah, that one.

858
00:52:34.040 --> 00:52:34.720
Dillon Gilbertson: Reliant.

859
00:52:36.380 --> 00:52:39.109
Tad Eggleston: Was it sense of no sense of wonder.

860
00:52:39.420 --> 00:52:40.640
Dillon Gilbertson: It was dreamland.

861
00:52:40.860 --> 00:52:41.470
Tad Eggleston: Dreamland.

862
00:52:41.470 --> 00:52:42.450
Peter Eggleston Connor: Yeah, yeah.

863
00:52:42.450 --> 00:52:43.360
Tad Eggleston: Dreamland.

864
00:52:43.840 --> 00:52:47.250
Peter Eggleston Connor: I like exercise goal, too. But yeah, we'll go. We'll go 3 months.

865
00:52:50.990 --> 00:52:54.659
Tad Eggleston: I'm all for getting a maximum of representation.

866
00:52:55.770 --> 00:52:59.839
Tad Eggleston: So yeah, that was a super fun issue.

867
00:53:00.110 --> 00:53:00.990
Matt: It was a good issue.

868
00:53:00.990 --> 00:53:01.310
Dillon Gilbertson: Yeah.

869
00:53:01.310 --> 00:53:06.539
Tad Eggleston: I was a definite fan of that issue.

870
00:53:08.780 --> 00:53:11.649
Peter Eggleston Connor: No, that's that's not the right issue.

871
00:53:11.860 --> 00:53:12.200
Peter Eggleston Connor: Yeah.

872
00:53:12.200 --> 00:53:12.620
Tad Eggleston: It's gonna.

873
00:53:12.620 --> 00:53:17.580
Peter Eggleston Connor: Read the 1979 January issue of heavy metal. We we highly recommend it.

874
00:53:17.580 --> 00:53:19.319
Tad Eggleston: Yeah, definitely definitely.

875
00:53:19.320 --> 00:53:21.190
Peter Eggleston Connor: Spectacular.

876
00:53:21.650 --> 00:53:23.789
Tad Eggleston: The 79.

877
00:53:23.790 --> 00:53:25.860
Peter Eggleston Connor: I hope I never say that again.

878
00:53:28.720 --> 00:53:31.999
Tad Eggleston: No, you now have to say it. Every episode.

879
00:53:33.490 --> 00:53:36.900
Peter Eggleston Connor: No, no, only if it's good, if it's not good, I have to come up with.

880
00:53:36.900 --> 00:53:37.370
Tad Eggleston: Okay.

881
00:53:37.846 --> 00:53:39.750
Peter Eggleston Connor: When it's not good.

882
00:53:39.750 --> 00:53:41.350
Tad Eggleston: That's that's fair.

883
00:53:42.010 --> 00:53:45.260
Tad Eggleston: Heavy metal, heavy, Masad.

884
00:53:49.050 --> 00:53:49.490
Peter Eggleston Connor: Oh!

885
00:53:49.930 --> 00:53:50.810
Tad Eggleston: I can't.

886
00:53:50.810 --> 00:53:57.990
Peter Eggleston Connor: Use that anymore because he just used it. So, okay, I'm just kidding.

887
00:54:04.590 --> 00:54:13.410
Tad Eggleston: Let's see if I already have the next issue downloaded or not.

888
00:54:14.960 --> 00:54:19.929
Tad Eggleston: No, that's because I also have

889
00:54:20.240 --> 00:54:26.490
Tad Eggleston: a humble bundle, heavy metal download that had some random issues along with a lot of

890
00:54:26.830 --> 00:54:32.490
Tad Eggleston: graphic novels, I did discover that the only collection is so beautiful and so dangerous

891
00:54:32.980 --> 00:54:40.340
Tad Eggleston: is out of print and a paperback copy on Amazon right now is 71, 50 damn

892
00:54:42.400 --> 00:54:50.069
Tad Eggleston: So yeah, I might have to like piece together all of the parts from heavy metal to be able to read it together.

893
00:54:50.070 --> 00:54:52.110
Dillon Gilbertson: So beautiful, so expensive. Am I right?

894
00:54:52.110 --> 00:54:52.590
Matt: Yeah.

895
00:54:52.590 --> 00:54:54.440
Tad Eggleston: Yeah, yeah, pretty much.

896
00:54:55.110 --> 00:54:58.390
Peter Eggleston Connor: Oh, you know so beautiful, so out of date!

897
00:55:01.746 --> 00:55:02.879
Tad Eggleston: Blah blah!

898
00:55:03.800 --> 00:55:05.795
Tad Eggleston: Let's find my.

899
00:55:06.750 --> 00:55:12.719
Peter Eggleston Connor: Wait for the day where, like artists, can just be like, oh, we can just like print comics for you

900
00:55:12.910 --> 00:55:17.110
Peter Eggleston Connor: at well, for, like you know.

901
00:55:17.380 --> 00:55:20.769
Tad Eggleston: Or at least more of them get digital, because I'm not.

902
00:55:20.770 --> 00:55:22.829
Peter Eggleston Connor: By digital right now.

903
00:55:23.180 --> 00:55:24.020
Tad Eggleston: Right.

904
00:55:24.510 --> 00:55:28.049
Tad Eggleston: That would be great. I would love to be the one that started that company.

905
00:55:32.350 --> 00:55:39.850
Tad Eggleston: You know where, where the artist legitimately got paid, and and things were kept in print.

906
00:55:43.310 --> 00:55:44.580
Tad Eggleston: So.

907
00:55:45.120 --> 00:55:48.750
Matt: There's a beat up copy, only 40 bucks.

908
00:55:49.337 --> 00:55:52.850
Peter Eggleston Connor: Only 40 bucks and starting that company.

909
00:55:53.070 --> 00:55:55.090
Peter Eggleston Connor: Why am I talking about this on air?

910
00:55:58.420 --> 00:56:00.110
Peter Eggleston Connor: Other people can hear me.

911
00:56:00.810 --> 00:56:01.540
Peter Eggleston Connor: They can get.

912
00:56:01.540 --> 00:56:02.410
Tad Eggleston: All right.

913
00:56:02.410 --> 00:56:03.170
Peter Eggleston Connor: No.

914
00:56:03.490 --> 00:56:09.850
Tad Eggleston: You know. I mean, I am okay with them, managing to get our deal if it happens.

915
00:56:10.438 --> 00:56:12.480
Tad Eggleston: This is a cool cover.

916
00:56:13.060 --> 00:56:13.900
Tad Eggleston: February.

917
00:56:14.460 --> 00:56:16.209
Matt: This is actually Derek Riggs.

918
00:56:16.210 --> 00:56:20.230
Peter Eggleston Connor: Want tribute if they, if somebody listens to us, and then actually.

919
00:56:20.230 --> 00:56:21.109
Tad Eggleston: And does it from there.

920
00:56:21.110 --> 00:56:27.510
Peter Eggleston Connor: I just want some tribute by which I mean some amount of money. I don't know how much, but some amount.

921
00:56:28.810 --> 00:56:31.810
Matt: Have you guys seen Iron Maiden's album covers the first.st

922
00:56:32.210 --> 00:56:35.660
Peter Eggleston Connor: You know what I take dinner. Dinner would be an acceptable amount of money.

923
00:56:36.020 --> 00:56:36.890
Tad Eggleston: There you go!

924
00:56:37.310 --> 00:56:39.049
Peter Eggleston Connor: I now want the.

925
00:56:39.050 --> 00:56:42.400
Tad Eggleston: Greatest hits of national lampoon, just for the cover

926
00:56:43.080 --> 00:56:43.660
Matt: Hmm.

927
00:56:44.340 --> 00:56:49.729
Tad Eggleston: I mean, it looks like it would be pretty awesome to have that on Vinyl, anyway.

928
00:56:50.570 --> 00:56:59.090
Tad Eggleston: Belushi, Chevy Chase, Murray's Christopher Guest.

929
00:56:59.700 --> 00:57:05.089
Tad Eggleston: Yeah, Harold Ramis. So we have Mobius.

930
00:57:05.090 --> 00:57:05.730
Peter Eggleston Connor: Yep.

931
00:57:05.730 --> 00:57:07.020
Tad Eggleston: One.

932
00:57:07.640 --> 00:57:10.930
Tad Eggleston: Why does it say Mobius? Page 84. Is.

933
00:57:11.900 --> 00:57:12.920
Dillon Gilbertson: Yeah, that is weird.

934
00:57:13.480 --> 00:57:15.200
Dillon Gilbertson: Chainmail. 93.

935
00:57:16.150 --> 00:57:19.280
Tad Eggleston: 84, 93, 93, then 7.

936
00:57:19.280 --> 00:57:23.310
Dillon Gilbertson: Hold on, we get another of the bus. Wait! What's going on? This looks like.

937
00:57:25.970 --> 00:57:28.399
Tad Eggleston: Let's find. Let's find out.

938
00:57:29.450 --> 00:57:31.550
Tad Eggleston: Here's etc, etc.

939
00:57:31.810 --> 00:57:33.190
Tad Eggleston: Sinbad.

940
00:57:33.760 --> 00:57:34.750
Peter Eggleston Connor: Looks like.

941
00:57:34.890 --> 00:57:38.180
Peter Eggleston Connor: Oh, oh, that looks like an exciting tale of sundad.

942
00:57:38.920 --> 00:57:40.240
Tad Eggleston: Airtight.

943
00:57:40.650 --> 00:57:47.500
Peter Eggleston Connor: More airtight, some advertisement, so thing that looks kind of.

944
00:57:47.500 --> 00:57:48.700
Tad Eggleston: Telefield.

945
00:57:48.700 --> 00:57:50.570
Dillon Gilbertson: Show me more bus.

946
00:57:50.760 --> 00:57:52.679
Tad Eggleston: Yeah, that's what I'm looking for.

947
00:57:53.040 --> 00:57:56.660
Peter Eggleston Connor: This tall field doesn't look like it had Hitler in it. So thank God for that!

948
00:57:56.660 --> 00:57:58.949
Dillon Gilbertson: I don't think the bus is in here. I think that was a lie.

949
00:57:58.950 --> 00:58:00.469
Tad Eggleston: No, I don't see it either.

950
00:58:01.620 --> 00:58:03.400
Matt: They said, What 93.

951
00:58:04.940 --> 00:58:05.950
Peter Eggleston Connor: That was another pass.

952
00:58:05.950 --> 00:58:06.450
Matt: It is.

953
00:58:06.863 --> 00:58:08.930
Matt: We've got a Galactic Geographic.

954
00:58:12.830 --> 00:58:17.809
Dillon Gilbertson: Buses here apparently, do the bus again.

955
00:58:17.982 --> 00:58:19.360
Matt: Page 9 you want. It's the part 2.

956
00:58:19.950 --> 00:58:24.900
Peter Eggleston Connor: Oh, there's a part 2, so it wasn't. It's good thing.

957
00:58:24.900 --> 00:58:25.890
Dillon Gilbertson: Have been an ongoing.

958
00:58:25.890 --> 00:58:32.499
Tad Eggleston: Cool. This looks cool. I'm not reading it yet. I'm just looking at the page, but the planet of No return.

959
00:58:32.500 --> 00:58:37.294
Peter Eggleston Connor: Then I mean that that it definitely looks very, very well

960
00:58:38.390 --> 00:58:39.290
Tad Eggleston: Yeah.

961
00:58:39.540 --> 00:58:40.119
Peter Eggleston Connor: Yeah, I, like.

962
00:58:40.120 --> 00:58:41.370
Tad Eggleston: More airtight.

963
00:58:42.230 --> 00:58:42.880
Tad Eggleston: Quetzal.

964
00:58:42.880 --> 00:58:43.610
Peter Eggleston Connor: Helpful.

965
00:58:44.250 --> 00:58:45.750
Peter Eggleston Connor: That sounds familiar.

966
00:58:46.110 --> 00:58:47.160
Tad Eggleston: It does.

967
00:58:47.750 --> 00:58:53.080
Tad Eggleston: So it's like it's silent. I like a good silent tale, more mobile.

968
00:58:53.080 --> 00:58:54.670
Peter Eggleston Connor: Continuation of something.

969
00:58:59.230 --> 00:58:59.880
Tad Eggleston: Huh!

970
00:59:00.300 --> 00:59:00.980
Dillon Gilbertson: It is.

971
00:59:00.980 --> 00:59:03.159
Tad Eggleston: It's a. It's a different bus.

972
00:59:03.620 --> 00:59:04.310
Dillon Gilbertson: There's.

973
00:59:05.120 --> 00:59:06.949
Tad Eggleston: We'll have to get into that.

974
00:59:07.330 --> 00:59:09.529
Dillon Gilbertson: An insect on the bus. Come on.

975
00:59:09.530 --> 00:59:09.990
Tad Eggleston: And then.

976
00:59:09.990 --> 00:59:10.370
Matt: Right.

977
00:59:10.370 --> 00:59:17.549
Tad Eggleston: 96, and a very conanish back cover.

978
00:59:17.550 --> 00:59:18.800
Dillon Gilbertson: Alright, excited for next time.

979
00:59:18.800 --> 00:59:20.330
Peter Eggleston Connor: Nothing wrong with, yeah.

980
00:59:20.330 --> 00:59:21.260
Peter Eggleston Connor: Cover.

981
00:59:21.260 --> 00:59:23.889
Tad Eggleston: Yeah, next month's looks cool.

982
00:59:25.150 --> 00:59:27.320
Tad Eggleston: So anyway.

983
00:59:27.320 --> 00:59:29.090
Matt: It was a good year for heavy metal.

984
00:59:29.630 --> 00:59:33.440
Tad Eggleston: So far, so far is it.

985
00:59:33.730 --> 00:59:38.259
Matt: About the cover. This is Derek Riggs. He did. Iron maiden album covers.

986
00:59:38.410 --> 00:59:39.320
Tad Eggleston: Okay.

987
00:59:39.320 --> 00:59:41.429
Dillon Gilbertson: Nope, love that.

988
00:59:41.430 --> 00:59:45.860
Matt: So I don't know if this is his 1st published work. But it's early, Derek.

989
00:59:46.800 --> 00:59:48.970
Matt: It's pre Iron Maiden. I know that.

990
00:59:48.970 --> 00:59:49.680
Peter Eggleston Connor: Nice.

991
00:59:50.180 --> 00:59:54.420
Tad Eggleston: This kind of looks like this.

992
00:59:55.230 --> 00:59:56.880
Tad Eggleston: The the

993
00:59:58.350 --> 01:00:08.239
Tad Eggleston: the guy! Oh, God! What's the name of the Brian K. Vaughan series, where he's got the mayor who's got the electronic superpowers

994
01:00:12.000 --> 01:00:14.229
Tad Eggleston: before? Why, the last man.

995
01:00:15.660 --> 01:00:17.450
Peter Eggleston Connor: I have no idea.

996
01:00:17.450 --> 01:00:18.370
Matt: Ex machina.

997
01:00:18.640 --> 01:00:19.510
Tad Eggleston: Yes.

998
01:00:20.800 --> 01:00:24.700
Tad Eggleston: Doesn't this look kind of ex machina? The guy down here.

999
01:00:25.000 --> 01:00:25.340
Matt: See it.

1000
01:00:25.340 --> 01:00:25.900
Dillon Gilbertson: Yeah.

1001
01:00:26.130 --> 01:00:29.120
Tad Eggleston: I mean, not like full on Rip, but.

1002
01:00:29.120 --> 01:00:30.960
Peter Eggleston Connor: I don't know what I'm talking about, so.

1003
01:00:31.480 --> 01:00:32.680
Matt: I can see it

1004
01:00:32.680 --> 01:00:35.470
Matt: now that you say it, I can see it. I didn't see it before you said it.

1005
01:00:36.070 --> 01:00:44.409
Tad Eggleston: Well, I mean that that means that if it's an homage at all, it's the best kind where you know it can tickle your your

1006
01:00:44.870 --> 01:00:54.490
Tad Eggleston: memory, if if but but but you know isn't like an odd easily seen. Rip.

1007
01:00:54.940 --> 01:00:58.859
Matt: So, anyway, Dylan's got to go to work.

1008
01:00:59.010 --> 01:01:03.280
Tad Eggleston: I gotta go to bed, maybe, or read more comics.

1009
01:01:03.600 --> 01:01:04.710
Tad Eggleston: Maybe both.

1010
01:01:04.900 --> 01:01:05.280
Dillon Gilbertson: All.

1011
01:01:06.080 --> 01:01:06.980
Dillon Gilbertson: Why not both?

1012
01:01:07.430 --> 01:01:08.990
Tad Eggleston: Yeah, probably both.

1013
01:01:09.420 --> 01:01:09.810
Tad Eggleston: There you go.

1014
01:01:10.900 --> 01:01:12.940
Peter Eggleston Connor: See you in 20 days. Then I mean.

1015
01:01:12.940 --> 01:01:13.690
Tad Eggleston: Yeah.

1016
01:01:13.690 --> 01:01:14.060
Peter Eggleston Connor: If you.

1017
01:01:14.060 --> 01:01:28.100
Tad Eggleston: Well, no, I'll see you sooner, and, like we should invite Matt Dylan. Are either of you role playing gamers cause cause we have now the monthly game of die on on 22 panels, as well.

1018
01:01:28.100 --> 01:01:33.620
Dillon Gilbertson: I can't. I don't. I don't know if I have the bandwidth to squeeze another one in. I got. I got our own campaign going.

1019
01:01:33.960 --> 01:01:43.860
Tad Eggleston: Well, that's fair, that's fair, though. What I will toss out is is, Phil is relatively certain that as long as he has a week's notice. He can weave you in and out.

1020
01:01:43.860 --> 01:01:44.480
Dillon Gilbertson: Oh, cool!

1021
01:01:44.480 --> 01:01:45.860
Tad Eggleston: You feel like it.

1022
01:01:45.860 --> 01:01:48.550
Dillon Gilbertson: Nice. Yeah, yeah, although, yeah, I'll definitely be keeping it in mind.

1023
01:01:48.550 --> 01:01:51.370
Tad Eggleston: So so keep it as a as a

1024
01:01:51.740 --> 01:02:00.459
Tad Eggleston: back. Your head type thing. And it's it's the role-playing game based on the Kieran Gillen. Stephanie Hans

1025
01:02:00.750 --> 01:02:01.979
Tad Eggleston: die comic book.

1026
01:02:02.180 --> 01:02:03.809
Dillon Gilbertson: Yeah, so which was really good.

1027
01:02:04.530 --> 01:02:05.070
Matt: Alright!

1028
01:02:05.070 --> 01:02:06.410
Tad Eggleston: Yeah, yeah.

1029
01:02:07.040 --> 01:02:11.639
Tad Eggleston: So I've decided that we should do more cross-pollination.

1030
01:02:12.830 --> 01:02:13.750
Peter Eggleston Connor: And.

1031
01:02:13.750 --> 01:02:15.629
Tad Eggleston: And Cross advertising.

1032
01:02:15.630 --> 01:02:16.990
Matt: Nothing wrong with that.

1033
01:02:18.060 --> 01:02:18.650
Peter Eggleston Connor: There you go!

1034
01:02:19.120 --> 01:02:21.029
Matt: So, Matt, you want to take us out.

1035
01:02:21.320 --> 01:02:23.449
Matt: and we'll continue after the next page.