Welcome to The Corner Box, where your hosts, David Hedgecock, and John Barber, lean into their decades of comic book industry experience, writing, drawing, editing, and publishing. They'll talk to fellow professionals, deep dive into influential, and overlooked works, and analyze the state of the art, and business of comics, and pop culture. Thanks for joining us on The Corner Box.

[00:28] John Barber: Hello, and welcome back to The Corner Box. We're back again. I'm John Barber, and with me, as always.

[00:35] David Hedgecock: David Hedgecock.

[00:36] John: Switched things up. We still nailed it. We're back for Part 2 of our time we were about to talk about comfort food comics, and then didn't. This time we will, I guess. Let me open this up with a nice visual bit here—Oh, I'm sorry. I didn't hear you come in.

[00:52] David: Oh, my God. John is holding up a giant oversized hollow foil issue of Batman #158 - the beginning of Hush 2. Yes, that thing is amazing. Did DC put that out?

[01:08] John: No, I made this myself.

[01:10] David: You did?

[01:11] John: Oh, of course not. That's crazy. What? I was in the comic bookstore, and—Here, for size comparison, here's a DC Treasury reprint that just came out, as well.

[01:22] David: Okay. So, DC Treasury, I'm guessing, is probably 8 1/2 by 11-ish. Maybe a little larger--8 by 12?

[01:28] John: Bigger than that. Yeah. Well, Hush is 11 by 17. It's just full-on, straight-up 11 by 17.

[01:37] David: That thing is enormous.

[01:39] John: Which means that the art is actually, probably, larger than it was drawn at, really, because you probably didn't draw right to the edge of an 11 by 17 sheet.

[01:47] David: You're right.

[01:48] John: Especially if there's a bleed, there has to be at least 1/4 inch that we're not--

[01:53] David: So, it’s scaled up.

[01:55] John: Yes. They put out the first issue of Hush in this format, and if I'm not mistaken, if you wanted to buy the regular issue of Hush, it's $7. The giant-sized one was $15, and I'm like, “first of all, it's way more than twice as much paper,” and that's how I compute comic value.

[02:14] David: Smart.

[02:15] John: So, I'm like, “this is a deal,” but then if you get the shiny one, like I did, it's another $5. That's a $20 total.

[02:22] David: So, that is money well-spent. That's already worth $50 on eBay. Don’t crease the spine, John.

[02:28] John: I'm told Issue #2 of Hush is also solicited like this. It's possible the whole series is going to come out this way.

[02:36] David: That's fantastic.

[02:37] John: I like these oversized comics, and this is just so dang goofy, to see it like this.

[02:42] David: Just you holding it up—I didn't even know this thing existed—It is amazing. I have to have that version. Wow. So, John's flipping through, and showing all the different pages from the story, and it's just—I mean, even through a Zoom camera, it looks really cool.

[02:59] John: I think the oversize really helped it. I mean, I like Jim Lee a whole lot. I would say, this is easily one of the five best Batman comics currently being published, but that probably has more to do with Absolute Batman just being real good, and there's been some other good Batman comics. It’s perfectly fun. The other thing that is hilarious about this is, this is Batman Hush Part 1, Issue #158, Legacy #923. Clean, and simple, like we like it.

[03:28] David: Yeah, […] reader-friendly book should be.

[03:33] John: But the other part that's funny, though, is that it's a straight print of the same book, which means, these ads are ridiculous […]. There was an ad for a podcast on Max.

[03:45] David: Yeah, it does not look appropriate. That ad was not built for 11 by 17.

[03:51] John: No. The […] ads from […].

[03:54] David: Oh, they do a little preview of the Martian Manhunter. Wow, what a treasure. So, $20--that gets you the oversized 11 by 17 with a holographic--it's a metal foil. It's just a metal foil, not holographic. Sorry, it's just a metal foil cover, and that's the wrap- around cover.

[04:10] John: No, sir. No.

[04:11] David: No. Okay. Well, you're just not holding it up for me in a way that I can really--

[04:16] John: Yeah. So, it’s--ridiculously shiny.

[04:22] David: I have to go get. Do they have more copies?

[04:24] John: Oh, they had a ton of them at Comickaze.

[04:26] David: Okay, good. Oh, you went to Comickaze?

[04:28] John: Yeah.

[04:29] David: I like to go to southwest—

[04:30] John: Yeah, usually I go to SoCal Comics. I had to meet up with Mary Elizabeth to drop off a copy of Signa for WonderCon, which I'm not going to be at, because I'll be in Mexico, momentarily.

[04:44] David: Yeah. Expatriating to Mexico, huh, John?

[04:47] John: For a week.

[04:48] David: Oh, just for a week.

[04:50] John: I don't know.

[04:51] David: I thought you’re making a move.

[04:52] John: Goodness. You never know, these days. We'll see. The last time I went there, in my drinking days, where I drank, where I imbibed, and there's a bar, there's a $5 all you can drink, and I got a bargain, because I got more than I could drink, and they didn't charge me more. Evidently, when I came back to the border, they asked me for my ID, or something, and I just yelled “USA” real loud, and they let me in.

[05:20] David: Those were the good old days, John. Can't do that anymore, or maybe you can. I don't know. Did I tell you about Editor-in-Chief of FunTimeGo, Chase Marotz’s adventures down in Mexico, recently?

[05:32] John: No.

[05:33] David: It's probably not my story to tell, but I'm going to tell it anyway. So, Chase, fellow comic book maker, and Editor-in-Chief for me, he went down to Mexico a couple of months—Well, it's been several months back now. We live in San Diego. So, going to Mexico is not a big deal, for us. We all go down there, occasionally, a couple of times a year, to go to the beach, or go have a nice dinner, or have a weekend away.

[05:58] John: We've had coworkers that drove down every day.

[06:00] David: That would live there. Yeah, exactly. So, anyway, Chase was down there for the weekend, I think, but he stumbled into a local bar in some small town in Mexico, and on the wall of the bar was a bunch of pictures of people who had drank 22 glasses of beer--different beers--and their times, and Chase looked at the time--the winning time was a 5-minute time, and he said, “oh, I can definitely beat that.” He didn't do anything that day, but he came back to work the next week, and he was tortured. He was like, “I should have just done that contest. I should have just done that.” So, the very next weekend, he went down to Mexico, into this tiny little bar, in this tiny little town in Mexico, and walked in at 2:00 in the afternoon. He said there was 1 other person in the bar, outside of the bartenders, and he said, “set them up.” So, they set up--he took pictures--it's 20 glasses of, more than a shot, of several ounces of beer--22 of them. I could not drink that much in a day, much less in a short amount of time, and he beat the record time by 2 minutes. He beat it down to--he got it from 5 minutes and 30 seconds, down to 3 minutes and 30 seconds, and he said he was slowed down on the last couple, because he knew he had it. So, he was just cruising for the last few. So, Chase is the drinking champion of Tecate, Mexico, somewhere. There's more to the story, but that's the part that I'll share, this time. Oh, John, speaking of going to Mexico, and people crossing borders, and things like that--we decided that we would help our listeners by talking about some comfort comic books.

[07:55] John: Yeah, like comfort food comics. You hear people, they put on movies that they like to watch a lot. Black Hole or Star Wars always work, for me. What are comic equivalents of that? When you just want something, it’s familiar, you enjoy it, and you can just come in, and read something, and enjoy it, and take your mind off your problems.

[08:13] David: I think it's a great thing. I think our listeners are going to appreciate this one. We haven't shared each other's comfort comics, yet. So, I'm excited to learn what yours are going to be, and I'm pretty happy with the list that I came up with. So, the challenge, for me, John, is that we've been doing this podcast--even though it says episode 27, or 30, or 32, or whatever--it's season 2. We've done this for a lot, John. We have over 80 of these things that we've done, and I've talked a lot about things that I like already. So, I was like, “oh, man.” I don't want to just go back to Groo the Wanderer, Captain Carrot and his Amazing Zoo Crew. So, the challenge, for me, was to find “What does comfort mean, for me, and how does that apply here, and what potentially are some books that we haven't talked about yet, that would apply? So, it was quite a challenge to put this together, for me, but I'm glad we did, because I've got a nice new reading list that I'm going through, right now. It's been very helpful. I hope other people find these helpful, as well. So, should I start, John, or do you want to start?

[09:11] John: No. Why don't you start?

[09:12] David: Okay. So, I came up with four or five--I can't even remember. We might not even get to them all. This is in no particular order, but the first one that I thought of, when I really sat down and thought about it, was All-Star Superman, the maxiseries by Grant Morrison and Frank Quitely. Came out between 2005 and 2008. Colors by Jamie Grant. Shouldn't forget that the colors on that book are fantastic. So, All-Star Superman, I like it, because it feels like a timeless story about Superman that is exploring his final days after he's been overexposed to solar radiation, which gives him even more powers than he had before, but also, is bringing his impending death because of it. Grant Morrison crafts this really amazing love letter to Superman. Only Frank Quitely could have made it the extraordinary thing that it was, through the subtlety of his art, and the movement, and the acting thing that he brings to the piece. It's such an amazing piece. I am not a huge fan of Superman, but I am a massive fan of this All-Star Superman run. I can't get enough of it. I feel like I read it at least once or twice every year, and every time, I'm just blown away by how amazing this book is. It’s a modern-day tale, but it really does embrace a lot of classic Silver Age elements. Quitely’s art, again, is just so detailed and fluid, and just really, perfectly captures Morrison’s storytelling, as all their collaborations, but this one in particular.

[10:54] John: I think those guys bring out the best in each other. There's other stuff by either of them that I really like, but just together, it's like a John Lennon/Paul McCartney thing, where there's some good songs, individually, but put them together, and there's stuff that's untouchable.

[11:11] David: Yeah, I think that's an accurate comparison, truly--comics to music. The pairing of these two is just next level, in a way that just nobody else can get to, but these two are able to bring it out in each other, for sure, and the reason I chose this as one of the comfort comics is because, not only is it just a fantastic work, and probably one of the best Superman stories ever told, but it's also inspiring and hopeful, as Superman should be, at least in my mind, and it really does just tug on the heartstrings, and there's several moments of Superman just being a good dude, and it is a feel-good book. As an example, and I don't think I'm giving too much away, but there's a woman who's having suicidal thoughts, and she's about to act on them, potentially, and Superman, the way he saves her, is he says, “hey, you're stronger than you think you are,” and just the way that whole scene is set up, and the way it’s executed, it's just a really nice--it feels good. It feels like there is hope here, and Superman, the story is doing the 12 Labors of Hercules--inspired by that, I think. Is that right? Am I saying that right?

[12:22] John: Yeah. Does Hercules actually show up in that, or is it somebody else that shows up? Doesn't Atlas, or somebody, show up? Yeah, that's definitely the idea. Each issue stands on its own, for the most part. I don't know what the 12 Labors of Hercules are, to be honest. So, I don't know if they […].

[12:42] David: […] loosely. I don't think that was Hercules. You're thinking about Ferrigno. Did Ferrigno do Hercules? Now, you're confusing me.

[12:53] John: No, no. Wasn’t Schwarzenegger in Hercules in New York, and that was his first English language movie, but he was--

[12:59] David: Oh, was that Schwarzenegger? I thought that was Ferrigno that was in that one.

[13:01] John: I don’t think Ferrigno's been in Hercules movies. I don't know, man. Those guys were--this is back when they were rivals, right?

[13:10] David: Maybe it was Schwarzenegger in Hercules. Okay. For some reason I thought it was Ferrigno. My memory is horrible. Anyway, it's just very inspiring, fun read. It's super fun, too, on top of it, and just the most gorgeous art. It's already been a major influence on how Superman gets portrayed in comics, in film, in animation, and just a masterpiece of superior storytelling. If you haven't read this, do yourself a favor, even if you're not a fan of superheroes, or of Superman. I think this one is an inspiring piece, and it made me want to learn more about the character, and the characters around Superman, in a way that other Superman fiction has not. So, that's my first choice, John. I don't know if I have a favorite, but that's the first one I'm talking about.

[13:54] John: Yeah, the Gospel According to Lex Luthor in there, is one of my all-time favorite comics. That one, especially. Just him with his bots on Lex Luthor. I love that one. That's a good one.

[14:06] Ladies and gentlemen, let's give it up for our entertainers. We're going to take a quick break. We'll be right back.

[14:12] David: Hey, Corner Box Clubbers. David here, and I've got something fun for you. My new Kickstarter campaign is launching soon, and I want you to be part of it. Just head over to FunTimeGo.com and click the VIP banner at the top of the site. That's your All Access pass to our new book, Miss Mina and the Midnight Guardians, plus some seriously cool perks. If you sign up for our VIP Package, you're going to get GUARANTEED Remark Edition of the next book that comes out, you get offers for exclusive discounts and incentives, tons of free giveaways, during and after the campaign, and you also get access to our Private Facebook Group, where we do sneak peeks, talk about the podcast, give bad movie reviews, and generally have a fun time. So, don't miss out. Go to FunTimeGo.com, sign up, and get in on the fun.

All right, ladies and gentlemen, back to what you came for. Give it up for more of The Corner Box.

[15:06] John: My first pick is the Brian Michael Bendis/Alex Maleev Daredevil. I guess, it is in the news, just out of there being a Daredevil TV show now, but, to me, there’s something about Bendis’ writing that I just find totally readable. It's just so easy to read. It flows so easily when I'm reading it, and I don't think any of that was ever better than when he was working with Maleev on that. It hits the crime stuff that I'd originally liked Brian for, before he was at Marvel. If you remember the chronology of this, Bendis was writing and drawing his own comics—He was doing a lot of crime stories, he got hired to write Sam & Twitch from Todd McFarlane, and he was doing layouts on those, and Angel Medina was drawing it. It was a weird combination, where it was definitely a super McFarlane-y—Angel was really leaning into McFarlane-y art, applied to Brian Michael Bendis storytelling, which is weird, but then Maleev came onto the series. They did a couple issues together, and then Brian got fired from it, as I understand it, because he was doing the Marvel work, and then Maleev wound up coming over onto Daredevil when he started.

Daredevil had such an iconic run with Frank Miller, and it was one of those untouchable unimpeachable runs, and I thought they came in guns blazing, and tried to do another iconic version of it. It was very influenced by Frank Miller, but really taking the Miller stuff, and pushing it all the way into prime stories, doing all this chopped-up storytelling. All of those things factor into it. The other thing is that, about a year into the run, I was working at Marvel, when it was coming out, and I never had anything to do with this comic. There was a thing, where there are a lot of Marvel Comics that I really liked from that time—I don’t mean this in a negative way, but for the most part, they all got ruined by me being there. I would know what was going to happen. A lot of times, you'd have to know, even if you weren't working on the comic, you'd have to see the scripts, because something else was tying into it. I was working on Ultimate Spider-Man, which is one of my favorite comics, but I was working on it. When I look at those issues, I remember Mark Bagley calling me, and saying, “I forgot to draw the water coming out of the sprinklers. Do you think Justin Ponsor can add that in, in coloring?” Not just enjoying the story, and enjoying Peter, and stuff.

There's something about that Daredevil run that--I don't know--it really symbolizes the best of that era of Marvel, for me, and it was something that, for the most part, I didn't have anything to do with. I mean, I never edited it, or anything. There's one controversy that I know, internally, where there was one argument about whether Matt Murdoch would do something in court, and the rest of it is […] pretty clean, and I can just sit there, and enjoy the comics. So, it's nice, because it takes me back to the fun parts of that time period, and I think it's a really cool and enjoyable series, and does some really fun and cool stuff with Daredevil, and also, the office is right at Bryant Park, which is where all the heroes go and confront Matt Murdoch. They have their intervention at Bryant Park, and I was like, “we used to sit out there with Sean Ryan, and MacKenzie Cadenhead, having lunch.”

[18:12] David: I have never read that series. I don't know what it is about Daredevil, but I have never been able to really get into that character, which is weird, because there have been such great creative talent on that book, doing such great runs. Daredevil probably has more meaningful runs from creative teams than any other book I can think of, really. In terms of just critical acclaim--I don't know--Daredevil tends to get the best creators on it, and doing their most imaginative stuff, but I've just never been a fan. I don't know. I don't know what it is about Daredevil, but I think I don’t like the costume, and that's such a petty thing that keeps me away, but I think that might be the thing. It's just all red, and there's a giant D on his chest. It's not very interesting, to me. I don't know.

I'm very much a visual guy, when it comes to my comic books. So, maybe that's the thing, but I will tell you--there is something hypnotic about Brian Michael Bendis's dialogue. It's got this amazing staccato cadence to it. Man, that stuff just reads so smooth, and so nicely, even though it is herky-jerky, in a way. It really works. Once you get into the way Brian is writing his dialogue, and you start reading it, I think, the way he wants you to read it, which is natural conversation, with natural pauses and interruptions, and things like that, it really works. It really works great, and at that time, when it was just hitting the scene, dude, nobody was doing that. He was wildly recognizable, because of that writing style that he brought in. Sam & Twitch is the only Spawn Universe comic book that I've ever collected the entire series of. I have almost no interest in Spawn, but man, I love that Sam & Twitch run that he put together with Angel Medina, and then Alex Maleev.

[20:10] John: Yeah. That run has one of my favorite moments in comics, too, where at one point, a panel description got pasted in and used as dialogue, in the sequence. It’s one of those quick back and forth sequences that he would do of probably a 9-panel grid, and just cutting between the two characters, and it was somebody maybe talking to Sam. Something like--I don’t remember the exact thing—was like, “where's Twitch?” He's like, “he's taking a leak,” or something. That was what they were trying to get across, but then there's a panel of Sam saying, “shot of Barbara,” and the other character he's talking to is named Barbara. That was a panel description, “shot of Barbara,” but it sounds that's how they say “taking a leak” in the streets. He's […].

[21:01] David: Do you happen to remember how that run starts? Is it a new #1 that they launched? Is it in the Marvel Knights #1, or what? Do you remember?

[21:09] John: No. If I recall correctly, the #1 was Kevin Smith and Joe Quesada. It’s the continuation of that run.

[21:18] David: Oh, okay, but it is in the Marvel Knights run, not the mainline book?

[21:25] John: It was in the Marvel Knights run, but it was after Marvel Knights had been absorbed into Marvel. So, Marvel Knights, when it first started, was Nanci and Joe Quesada, and Jimmy Palmiotti—Nanci’s Joe's wife, and a great editor. They were handling all the editorial stuff, internally. I think Stuart Moore was there. We should talk to Stuart sometime.

[21:47] David: Absolutely, yeah.

[21:49] John: He would get the lowdown on that, but then when Joe became Editor-in-Chief, Marvel Knights was absorbed into Marvel Proper, and just became an imprint within the company. So, there wasn't Marvel Knights staff, or something, it was just--

[22:03] David: But there wasn't a renumbering of anything. It was just Issue #27 of Marvel Knights Daredevil, but it wasn't even Marvel Knights anymore.

[22:10] John: Yeah. At some point, Marvel Knights just disappears.

[22:12] David: I wonder how it's collected. I'm going to figure that out. I do want to give that run a read.

[22:20] John: In that era was when they started putting out everything into paperback, and they were collecting them into oversized hardcovers, for a while, if you remember that. Some of the series would get--6 issues would be in paperback, and then 12 issues would be in these oversized hardcovers, and I'm pretty sure, in that numbering, hardcover #2 was where the run starts, and the first run was all Maleev’s stuff, and then David Mack was on there for a while—not Maleev. I'm sorry. Wasn't it, Quesada started writing it, and Mack was drawing it, for a little bit, and that's where ECHO came in?

[22:52] David: No idea. I did not read any of it.

[22:55] John: Yeah, that's right. You've never read Daredevil. I will say, the red costume, visually, is neat. I don't know. That's the most bizarre thing you've ever said. There's so many artists that just play--especially Maleev, and I was thinking, Hollingsworth is coloring it--Is that right? I'm probably wrong, but just the bright red costume against the streets, everything being gray and brown--That’s a big visual motif in that book.

[23:21] David: Yeah. I'm more of a Daredevil Black Armor kind of guy. What can I say? I actually did read the run, when what's-his-name was the artist. That Fall from Grace storyline. I did read it when he was the artist.

[23:35] John: Okay. Yeah.

[23:37] David: I love his stuff. Nightwing artist. McDaniel. Thank you. Scott McDaniel.

[23:43] John: Yeah, that was when he was hardcore doing Sin City.

[23:46] David: Hardcore.

[23:48] John: He doesn't do that anymore.

[23:50] David: Yeah, I think that was before he went over to Nightwing, right? I think he was adopting that visual style during that Daredevil run, because I think the beginning of that run, he's not doing that, and then he goes to it. He eventually gets back to a place where it's his own unique voice, but yeah, that Fall from Grace storyline, in particular, is very Miller-esque, but a lot of guys were trying that, at the time. Even Jim Lee was trying to do that with Deathblow. So, he wasn't alone in that.

[24:16] John: That Liefeld ShadowHawk issue.

[24:18] David: Yeah, that's right. So, my next one is another blast from the past, and I think maybe one of the things I should say is that, when I was thinking of comfort comics--for me, comfort comics, a lot of times, do end up being superhero stuff, and I think part of that is because, for me, comfort comics is the stuff that I don’t have to think too hard about. It washes over me a little bit. I'm just entertained. It's like the popcorn, big-budget movies, big special effects, light on story. That's not to say that something like All-Star Superman doesn't have some meat to the bone. There’s something there, but in general, I think my comfort food, I tend to think about superhero comics. So, your mileage may vary, but that's for me. So, the next one that I was thinking of is another series from around that same time, 2005. The New Warriors miniseries by Zeb Wells, with art by Skottie Young.

[25:22] John: Yeah, all right.

[25:23] David: Yeah, I adored that book when it came out. I'm a massive New Warriors fan--of the original series. So, when this book came out, New Warriors hadn't been around for a while. It'd been quiet for a little while. I don't know if it was purposely being laid to rest for a little bit, to let the property take a break, but when this came back, as big a fan I was of the superhero New Warriors in its first iteration, this more humorous, light teen adventure romp story was great. I loved it. I loved the comedic nature of it. I loved that it was poking fun at the superhero genre. The story was more of a “what if superheroes were on reality TV” vibe to it, and I think this might have been some of the first published comic book work of Zeb Wells. I think this was an early foray of his into the medium.

[26:20] John: Yeah. It was pretty early, at least.

[26:21] David: And it was also at a time where Skottie Young, I don't think, had really--people still hadn't figured out what to do with Skottie Young, and I don't think he had figured it out, either.

[26:30] John: This is when I was there for--I didn't work on it—but this was like, “Skottie’s great. What can we do with Skottie?”

[26:35] David: Yeah, I guess we've talked about this one a little bit in the past. So, the team lineup was great. It was Night Thrasher, who is the first invented character for New Warriors. It pulled in other pre-existing characters, but Night Thrasher was the new character for the team. So, he's back, and of course, Speedball’s in it. So, of course I'm going to buy it. Nova and Namorita. So, you’ve got the good, really hardcore core of the original, and then they brought in two really cool, interesting characters, Microbe and Debrii, which were both super fun characters with super fun powers, and visually, really interesting, and Skottie Young with the art really made them unique and cool, and I just love the fact that a lot of the story’s focus was on, basically, Speedball just desperately trying to make this reality TV show that they’re on successful. So, even though this was an early-2000s book, I do think it's got some really interesting commentary on media exploitation and sensationalism, definitely some interesting commentary on celebrity culture, but mostly, it's just a fun romp of a superhero comic. The only interesting thing about this is that it did set up some soon-to-be pivotal moments within Marvel history, that ultimately ended with Speedball turning into a character named Penance, which I have no appetite for, whatsoever. So, that would be the only negative here, but taken by itself, it's a quirky, fun, vibrant story with some fantastic early exaggerated artwork by Skottie Young, before even, I think, Skottie Young knew what he was doing. It does play an important piece in Marvel's future. So, I think it is a good place to jump in on some Skottie Young, some Zeb Wells, some New Warriors. That's my second pick, John.

[28:27] John: Yeah, that is a really fun series. I haven't read that in a long time. Zeb had come in from--he was doing that Twisted Toy Theatre at Wizard, and then he'd started—I think that's where he came from, and he's very good. He's another one, like Bendis, at that time, too--There was a breath of fresh air, seeing somebody come in with this funny take on stuff, and they do get blown up in the beginning of Civil War. I think they all came back, eventually.

[28:51] David: Yeah. I'm not sure about Microbe and Debrii, but for sure, the rest of them had to have come back.

[28:57] John: Yeah. If they're not, I mean, I'm sure there's a generation of people that grew up with this book now.

[29:02] David: Yeah, it’s coming.

[29:03] John: I love that book. I think it's a lot of fun, and Skottie definitely got better, as an artist, but there's a real particular style he has on that one, where it's very animated-looking. As much as he does cartooning, and stuff, this is him, really, I think, leaning into--This looks like a cartoon. This looks like a funny cartoon you would see on TV, or something, but there was no reference to that. It wasn't some particular cartoon. It was just that idea of, “what if you really […].” Anyway. Good series. Love it.

[29:34] David: His voice continues to be so unique, within the superhero comic book medium. I remember, when this was coming out originally, it just being, as you say, a breath of fresh air, and really cool, and unique, and interesting, not only visually, but also, the story itself--fun, light superhero, funny, comedic storytelling.

[29:59] Hey, everybody. We're going to put a pause on things here, for a moment. We'll be back next week, to finish our little discussion about comfort comics. Hope you're all finding something good to read. Read more comics, and we'll see you next time, here on The Corner Box. Thanks, everybody. Bye.

Thanks for joining us, and please subscribe, rate, and tell your friends about us. You can find updates, and links at www.thecornerbox.club, and we’ll be back next week with more from David, and John, here at The Corner Box.