[00:00:02] Intro: Welcome to the Corner Box with David Hedgecock and John Barber. With decades of experience in all aspects of comic book production, David, John, and their guests will give you an in-depth and insightful look at the past, present, and future of the most exciting medium on the planet, comics, and everything related to it.

[00:00:24] David: Hey, everybody. Welcome back to the Corner Box. I’m one of your hosts, David Hedgecock, and with me, as always, is my good friend, John Barber, Transformers Hall of Fame, John Barber.

[00:00:34] John: Where are you on there? Where are you dredging up the past?

[00:00:38] David: Does that bother you? I think that’s a badge of honor.

[00:00:40] John: That’s good. No, I’m proud of you.

[00:00:42] David: Probably about it. It’s fine. I could just talk about how handsome you are.

[00:00:46] John: Even better.

[00:00:47] David: Welcome everybody to the show. Since we’re doing it, we might as well do a quick reset. My name is David Hedgecock. Once again, I am the publisher of Funtime Go. And right now I have a Kickstarter out there called Superkaiju Rock and Rolla Derby Funtime Go. This is our sixth Kickstarter campaign. This is our third book of that particular series. And John is long time Transformers writer and Transformers Hall of Fame-er. Also a former editor in chief of IDW Publishing, former Marvel editor. When Marvel was really good. So yeah, we talk about comic books here on the show and we kind of know what we’re talking about most of the time. Like I said, I’m doing this Kickstarter job and I thought today we would try to talk through a little bit of marketing 101 of a Kickstarter. There’s not a ton of information out there about like how to manage it. We’re on a Kickstarter campaign, even though it feels like Kickstarter has been around forever. You just don’t see a lot of, I mean, I guess the information is out there, but it’s hard to pull it together. And I’ve certainly tried my best to do that over the course of the last couple of years. And I even had experience before that, but it’s just hard to sort of figure out like, How the heck do people do this thing? I’ve had the benefit of knowing how to make the comics for a long time and sort of like all aspects of making a comic book. And so adding that layer of how do you run a Kickstarter wasn’t as daunting as learning how to make a comic book and figure out where to print it and how to market it and publish it and do all those things on top of learning how to, you know, manage the Kickstarter ecosystem. I feel lucky and grateful that I’ve had success on Kickstarter. Our campaigns have all been within the top 10, 15%. It’s hard to get statistics on Kickstarter, but as far as I can tell, the statistics that I can find, all of our comic book campaigns are in the top 10, 15% in the comic book category in terms of profitability. So we’re making good money and we’re doing it better than most.

[00:02:42] John: - I thought you had in terms of quality and I was just like, oh God, what did it say?

[00:02:46] David: - It’s just not that.

[00:02:47] John: - No, no, no, no.

[00:02:48] David: I say all that not to brag or anything, but just to sort of like give people a little resume. So when I start talking about these things, hopefully people can recognize that I’m speaking from experience and from wisdom and knowledge of the comic book industry in general and Kickstarter specifically. So I was going to lay out a little bit of like just the one on one of it all. And then maybe you could ask questions that maybe the audience would maybe ask. And I can answer those and we can kind of muddle through together. until we sort of like land on an ending and then we’ll talk about some comic books we’ve been reading or whatever other nonsense we’re gonna talk about today. Oh perfect switch it up do that at the end that sounds good.

[00:03:27] John: Yeah cuz we I don’t want to delay us with a another hellscape of Clive Barker

[00:03:32] David: superhero. The razor-line digression last week was was needed and very informative and I loved every second of it but I feel like we promised we kind of set to follow up last week that we were going to talk about this. So do it first thing. So, okay. So Kickstarter marketing 101. So the big thing about Kickstarter that I think a lot of people still don’t truly understand, at least people who are thinking about doing a Kickstarter is that all of the sort of marketing and hype around a Kickstarter, I see a lot of people putting their focus on when the campaign is live, putting all your energy into trying to talk about your campaign when the campaign is actually live on the surface. That makes sense, right? You’ve got the thing it’s available for people to order or pre-order, however you want to think about it, you know, pledge to. And so why would you talk about it when it’s not available? But that is a little counterintuitive to what the Kickstarter echo system is really built to do, at least here in 2026. So the way Kickstarter works, as I understand it, is that Kickstarter will take just about anybody’s project, you know, as long as we’re in, you know, certain like minimum standards, Kickstarter will allow you to put your project on their site. But the way that Kickstarter supports you changes and varies depending on what you’re delivering in terms of an audience. So if you start your campaign and, you know, let’s say you want to make $1,000, your minimum goal is $1,000 and you only start promoting and talking about your Kickstarter campaign when that campaign is live. On your first day or your first couple of days, you might not get a lot of people coming to your campaign and pledging because they’re just finding out about it for the first time. While that seems reasonable for Kickstarter, that is the kiss of death in a lot of ways because the algorithm behind Kickstarter is looking at your campaign and seeing that you’re not really generating a lot of heat, right? There’s not a lot of people pledging to your campaign on the first day or two or three. So Kickstarter will put you in a lower priority, essentially, because Kickstarter says, Oh, these guys aren’t really making that much money. Of course we’re still going to promote them. I think they do a good job of kind of pushing and promoting everything to the crowd that they think will find it interesting, but they will push harder if you show that you have the potential to be a big earner. So how do you do that? Well, you have a big first day. So my first day of my Kickstarter campaign, let’s say, you know, I generate two or three hundred dollars worth of pledges. Kickstarter is going to look at that and say, hey, that’s good. That’s cute. We want you here. We hope you hit your goal. But if I came on day one and I generate $5,000, $6,000, $7,000 worth of pledges on the campaign on day one, Kickstarter looks at it and says, “Oh, these guys know how to make some money and people want this thing. And so we’re going to take it and we’re going to throw some gasoline on their fire to see if we can turn it into a bonfire.” And so you start getting seen more and more in all the various ways that Kickstarter promotes all of their different campaigns that are on their site in any given moment.

[00:06:56] John: Okay.

[00:06:57] David: So that said, like what’s better, like starting your marketing when your campaign is live so people can go buy it right then and there, or is there a different version or a better version of that, that engages Kickstarter in a way that gets them to participate with you to promote your work so you’re not doing it all by yourself and the answer is yes, of course there’s that. and it’s all about the pre-campaign. It’s all about the, before the campaign even starts, is when you should be doing most of your marketing. So how does that look, John? Okay, on a very basic level, what you wanna do is you’re going to kinda build your campaign in the background, and you’ll create a landing page for that campaign on Kickstarter. Then what you’re gonna do is you’re gonna spend six, eight, 10 weeks before you plan to launch your campaign, talking about your campaign to the public and making them aware that you are making a comic book, making them aware of what it is about, what it looks like, who’s involved, and push everybody as much as you can to go into this landing page where people can sign up and say, “Notify me, when this campaign goes live.” There’s a little button on Kickstarter that says, “Notify me, when this campaign goes live.” People can click that and log in, and then they’ll be notified when the campaign launches. That’s the trick. That is the secret sauce is getting as many people aware of the campaign and as many people to click that notify me when the campaign goes live before the campaign even starts so that on day one your email list is out to everybody. You’re sending emails out to everybody and Kickstarter is sending an email out to everybody saying, “Hey, you said you wanted to be notified when this campaign is live. It’s live now. Go ahead ahead and go pledge. You can pledge now. If you do it right, then you get a ground swell of people coming in on that first day to pledge to your campaign. And the more people that pledge, the more the Kickstarter pays attention. And the more the Kickstarter kind of puts fuel to the fire and puts you higher in their search pages, sends out, puts you in their emails that to other people like-minded buyers of other campaigns. And it really really helps. It really can transform your campaign from something that’s going to do very, very low numbers to something that could do really, really high numbers. So that’s the very, very basics of it.

[00:09:22] John: Yeah, no, it’s interesting because I feel like there was a lot of talk in the first part, I don’t know, the last decade about kind of almost going against that, that you have a sort of surprise lemonade style Beyonce drops, a thing comes out and you can buy it the minute you get it because then all of your marketing is going towards something where there’s a direct call to action. I’m not unaware of this stuff, right? We’ve run, you know, running Kickstarter. I’m involved in that stuff too, but I think you’re better at this. And it’s almost like doing a pre-order for the pre-order. You’re running your previews catalog or whatever, trying to get that out there a couple months in advance. That’s, yeah, that’s interesting. That is an interesting thing.

[00:10:01] David: To put it in like direct market terms. Yeah. It’s the, you’re sending out the pre-order catalog, but the final order cutoff isn’t for, you know, four, six, eight weeks. It’s not four, six, eight weeks away. - We’re gonna add a little, some layers of complexity to this now, there’s this thing called the pre-campaign, John, and so how do we create a successful pre-campaign? And there’s a couple of ways to do it. There’s this thing called social media, and social media marketing is a real thing. It’s a very good tool. And if you learn how to use social media marketing, it can really help you get your project noticed before it launches. So here’s what I do. And what I do is I create a landing page, a little website. For us, it’s always get.funtimego.com and we reskin it for whichever campaign we’re running. Right now, if you go to get.funtimego.com, it actually kicks you straight to the Kickstarter campaign because it’s live now.

[00:10:59] John: - Right.

[00:10:59] David: - But before the campaign was live, get.funtimego.com was a landing page that’s talked about the comic book. It showed art samples. that gave a little story synopsis, talked about who the creators are, talked about who some of the cover artists were gonna be, talked about some of the cool things that we do. And there was an opportunity on that landing page for people to give us their email so that we can talk to them through email and let them know about any special offers we have, also when the campaign goes live. Essentially that landing page acts as a way to capture people’s emails, people that are interested in learning more, getting their emails. And now we’ve got their email. So we’ve got this landing page that’s getting people interested in people’s emails. Now how do we get people to go to that page? Well, it’s the same thing, it’s social media marketing. So we spend money with Facebook and Instagram and Blue Sky and Reddit. We do marketing basically. We do fairly low budget marketing stuff. Comic books are super fun and visually interesting. So it’s easy to promote stuff on social media around comic books. We do a low budget, you know, easy spend for up to 10 weeks, sometimes even longer. Talking about the project that is going to be on Kickstarter, you know, two months from now. But we’re not sending people to Kickstarter. We’re actually sending people to that landing page where we can get their email.

[00:12:22] John: Right.

[00:12:23] David: So we’re building an email interest list with this landing page that we’ve created and with all the social media marketing that’s pushing to that landing page. By the time we’re a week away from the campaign launching, we’ve got hundreds and hundreds and hundreds of people’s emails that have said, “Hey, yeah, let me know more.” And so we create a couple of different cool things in two or three emails to talk to people about the campaign. And we’ll do some fun giveaway or we’ll do a special offer only for the people that have signed up to the email list, a special link that’ll be on the Kickstarter, where we’ll let them know the book’s coming. And then on the day of launch, do a big email push on that day. Kickstarter’s also notifying everybody that went directly to the Kickstarter page and clicked the notify me there page. And so we’ve got hundreds and hundreds of people who have all signed up to say, yes, let me know when you launch. Now does that translate to every single person committing dollars pledging to the campaign? No, of course not.

[00:13:27] John: Oh, I was going to say yes, absolutely.

[00:13:32] David: But if you’re making good things, and at this point we’re at the sixth campaign, right? If we’re making good quality stuff, then more and more people come back and more and more people are willing to give you a try because you become more and more proven commodity. And we’re seeing that really well with Super Kaiju Rock and Roll Derby. Fontango, this third book, Fujitengu Flames, for Super Kaiju, it’s the fastest to hitting our goal. We did it in three hours. So we generated $7,000 in three hours, which is good. rock solid. We have other books that do better but for Fuji Tango Flames that was the fastest we had funded, completely funded and reached our minimum funding goal. So and we did it in three hours so that was great. And then we hit our first stretch goal in less than 24 hours as well. So we were well over $10,000 in under 24 hours. So when you do that, when you generate $10,000 in 12 hours, Kickstarter pays attention. And so now if you go to Kickstarter and you go into the comic book section, you’ll see that Fujitango Flames is easier to find. We’re at sort of the top of the fold of the pages. And if you are getting emails, because you’ve pledged to other Kickstarter campaigns of comic books on Kickstarter, our campaign is more likely to be at the bottom of

[00:14:48] John: that email. Oh, right. Kickstarter has a ton of metrics on the back end for the creators to see

[00:14:54] David: like where purchases are coming from. So I can go in and see, okay, this is how many people pledged from my email list. And this is how many people pledged from the notification page that Kickstarter had. And this is how many people that have come from Kickstarter’s various email campaigns. And this is how many have come from the main page of Kickstarter. When you look at those numbers, and when you have proven to Kickstarter that people might want what you’re making, you’ll see that those metrics are much higher than if you’re not showing that you got this. That’s the added layer of complexity. If you’re just starting out and you’re just getting uses or you got a very minimum budget, the big thing is to just drive people to that Kickstarter notification page and get as many eyeballs on it. You have to get a couple hundred people saying that, “Yes, notify me when the campaign launches.” Or you’re going to be struggling the whole way through. So you can’t do it, but it’s great. If you’ve got a couple hundred, two, 300 at minimum, people saying, yes, notify me when the campaign launches, your likelihood of success, real success is much higher. So that’s the very, very basic. And then this added layer that I’m doing is this social media marketing campaign where I’m capturing people’s emails and driving people through social media marketing to a landing page where I’m informing them more about the book. And that’s sort of like the deeper layer. There’s an even deeper layer that I don’t think will go there this time because it just I don’t want to confuse people, but that’s kind of like the basic 101 of it all.

[00:16:29] John: Yeah, okay. That was really interesting. Yeah, I’m looking at it now. All right. Yeah, okay. What do the stretch goals get you? From the kickstart user’s perspective, what’s the purpose of a stretch goal? Because there’s like it seems like you’re giving something away, right?

[00:16:49] David: These are typically three or four weeks long. It’s hard to keep energy up for four whole weeks. If you look at any campaign, Kickstarter campaign, it’s an upside down bell. It’s a U-shaped curve in terms of where you make money. At the very beginning of a campaign, if you’ve done everything right, you’ll make a ton of money on that first two days. After the first two or three days, you start making less and less and less. And then you kind of hit these sort of like doldrums in the middle of the campaign for two or three weeks where people are still coming in and pledging to your campaign, but it’s not anywhere near the level of the first couple of days. And then people usually will come in and at the end of the campaign, they’ll, you’ll get a lot of pledges again. So it looks like a, a you. So the stretch goals, they do two things for you during a campaign. One campaigns for me, at least I treat them as sort of just a party. Like it’s just a fun thing. It is work. I’m genuinely having a good time talking about the thing that we spent months making, right, and sharing it with the world and just taking joy in the fact that anybody, you know, is willing to like pledge, you know, to help, help, you know, make this thing happen. And so it really is kind of a party and the stretch goals are kind of like the party favors, right? Like it’s like, it’s like these cool things. It’s a way to acknowledge all the amazing people that have come in to sort of join you, right? It’s a cool way to acknowledge those people. And I think if you take this stretch goals seriously and put as much energy and effort into making a quality thing as you do for the energy and effort into making the book, then people are really responsive to that. They really appreciate that. And I think that’s how you create return customers. The stretch goals are like these fun things to celebrate the fact that things are working well. more money and as you’re earning more money, you’re sharing back. You’re giving back to this community that is forming around you. The other thing that the stretch goals do is that, let’s say, at the beginning of the campaign they looked and were like, “Oh man, 20 bucks for that seems a little high. Maybe I’m on the fence about this.” And then in the last two days they come in and they say, “Well, it’s 20 bucks for that, I’m also getting a cool trading card and a bookmark and I’m getting a little mini poster and I’m getting a cool iron-on patch and all the books are signed and they come with certificates of authenticity. It’s like, oh, that’s way more than $20 at that point. That’s totally worth my 20 bucks. I’m in. Right? And so you kind of get that mentality, the wait and see mentality of like, oh, well, what else am I going to get from this? And I do think that that moves the needle a little bit for some people. And so those stretch goals act as a way to incentivize people to de-pledge. Okay, that makes sense. All right.

[00:19:47] John: I’ve heard that sending updates can cost you pledges, you know, that like you put that out and it has a tendency to remind people, “Oh yeah, I bought that when I was, you know, drunk last night.” Or, you know, “I’m going to cancel it or something.” or you know, like that gives you a second chance to think about. Does that have you found that? Is that?

[00:20:05] David: I haven’t found that. We do keep our updates to a minimum. What I’ve done is I have a private Facebook community and everybody that pledges or purchases past, present, everybody that’s either is pledging or has pledged in the past is invited to the private Facebook group. And so there’s hundreds of people in that Facebook group. And I’m in the Facebook group literally every day chatting with people and talking and showing off, you know, whatever crazy thing we’re working on, new art or, you know, process stuff and talking about bad movies, whatever. And so I’m updating over there fairly constantly, right? Like there’s a couple, I’m probably talking to that group a couple times a week about whatever and sometimes it’s about the campaign, but it’s always about what fun time go is up to, right? And so I reserve like the constant sort of chatter to that group because they’re the ones that have signed up for that private group and they’re the ones that are like interested in hearing what I have to say on a more consistent basis. But for the updates, it’s like there’s a lot of people who support a lot of campaigns on Kickstarter. This is me, like literally, this is me. If I’m supporting like three or four campaigns right now, and all of them are doing updates every day, I’m getting like five or six emails per day from Kickstarter just about updates. And it’s like, oh man, that’s a lot. Like it’s a little exhausting. Based on my own experience, I don’t want to do that to people. So we keep our updates to important topics like, “Hey, we just hit another stretch goal.” Because that feels like something I want everybody to know. And it feels like if I was pledging to the camping, I would like to know that. Like, “Oh, wow. I just got another cool free thing.” Right? And what’s the next cool free thing? And when do I get it? Oh, it’s at $14,000 and I’m going to get a really cool signed and numbered sketch card. And there might be a head sketch on it. Okay, cool. I will be back at $14,000. more about that. Even though we’ve generated all this money in the first three days of the campaign, the first three days as I’m speaking, we’ve only put out three updates. One was because we funded, one was because we hit the first stretch goal, and then one was because we hit the second stretch goal. And we won’t do anything else outside of just those stretch goals. Now we might have other information in the update along with, “Hey, we hit a stretch goal,” but we try to keep it to there. So as an example, we’re planning a live event where we’re going to give away a ton of original art and just all these like rarities and cool things that we’ve made over the last 12 months. And we have, you know, actual ones and twos of some really high end rare things. So we’re going to do a big live event. We’re going to give a bunch of that stuff away to whoever shows up. We’ll put their name in a hat and we’ll draw it out and they’ll get something cool. But I’m not going to talk about that as its own separate update. I’m going to put that information in with the update when we have another stretch goal that we’ve hit.

[00:22:54] John: Okay.

[00:22:55] David: So instead of two separate updates, that’s just one update.

[00:22:58] John: Yeah. Okay.

[00:22:59] David: If you’re doing a Kickstarter, you’re going to see a lot of movements during the campaign up and down, especially in those sort of dead two weeks where you’re not getting as much activity. There’ll be days where you’ve made $800 and you’ve lost 600 because people have changed their pledge or canceled their pledge or whatever it is. is maddening because you’ll think, “Oh man, what a great,” and then it’s just like, “Oh no,” it’s like two steps forward, one step back sometimes. But I’ve never actually equated it with an update, but I’ve also always been very concise with the updates. We don’t put a lot of updates out. In the first campaign we ever did, I put a poll out saying, “Hey, how do you guys want me to communicate to you as the people who are supporting me? want like a lot of updates, like you want me to talk about every little thing or would you prefer just like kind of tentpole updates just as there happened, you know, occasionally and like to a person, there was a lot of comments. A lot of people had opinions about it and they were all saying like, Hey, keep it to a dull roar. So there were a few people like, Oh, I love to hear all the time. And so we hit on that solution like, okay, well, we’re gonna have this private Facebook group where we can talk to people all the time that want that. And then we’ll have the updates be more limited, get the information out in chunks as it comes in, but try not to overburden people with a lot of that stuff.

[00:24:24] John: That makes sense. It seems like a smart solution to that.

[00:24:27] David: The private Facebook group was the key to making all that work. Because those people are… There’s people that I consider friends now that I talk to almost every day. They just love being involved. They love hearing about what we’re making and they love to cheer us on. And man, it feels really great to have those people backing you up creatively. It’s sometimes there’s days where like, oh man, today was not a great creative day. But you get into the Facebook group and there’s people excited about whatever you’re showing and just jazz as you’re right back up. That’s cool.

[00:25:00] John: You were talking about that you’re doing the Facebook, you’re doing the social media marketing, but it feels like there’s no magic bullet. I guess I mean, a lot of this stuff seems to change relatively quickly compared to how fast things used to change. I don’t know if that makes any sense.

[00:25:14] David: One of the big things that’s changed that I’ve really noticed is the way the social media algorithms have changed. Twitter and Instagram and Facebook, it is so much more a pay to play sort of ecosystems, right? If you put a link with a picture in Instagram, you get buried. No one sees it. And if you just put a cool picture of the same exact cool picture with no links or anything, just saying, Hey, check out this cool piece that Rolando Maeda did, it does five times what that same piece does with a link attached to it. I’m not saying it’s horrible. And I’m not trying to speak poorly. I’ve noticed like Instagram or whatever their businesses, they’re trying to make money the way they’re going to make money. And I’m using their tools. They built a platform and I’m and I need to be appreciative of play and play by their rules. rules are changing at the point where you know you got to pay in order to get a link to be higher in their algorithms then so be it. That’s the way it is. I can choose to do that or I can take my ball and go find some other place to go. But it is definitely a dramatic change. I’ve noticed in the last two or three years just in the way that I’ve been talking about things and promoting things and it certainly changes the way I talk about things. You’ll see a lot of people saying, oh, link in the bio or they’ll put the link as the first comment in a post. That’s people trying to get around the getting buried and the algorithms. And I think with the advent of AI acting as a gatekeeper in a lot of these companies, it’s just going to get harder and harder. It’s able to look at everything that’s happening on the site and make more judgment calls in the moment.

[00:26:55] John: Yeah, that makes sense. Yeah, okay. So you do you also do a lot of other podcasts live streams, that kind of thing?

[00:27:03] David: Yeah, so I try to treat the kickstart campaign as a party. Like I want to have fun and I want everybody that’s like supporting me to have a good time. So what are the ways that I can do that? So we schedule live events where we do giveaways and just talk about whatever we talk about the book, but we try to talk about fun stuff. As an example, last time we had Bart Sears come on and hang out out with us and just talk about he did a bunch of character designs for Sugar Bomb. Bart Sears is like a legendary comic book creator. Like the dude was the lead artist for Justice League Europe when it was one of the hottest books on the planet. And you know, he was the uncredited wizard covered artist for God knows how long and he’s an amazing talent. So having him on a live podcast where you can like ask him questions and there’s 15 people in the room and him and me like, dude, that’s awesome. We try to do stuff like that. And then I also plan out a lot of press release type stuff. I like to think I do a good job of letting the world know about, you know, when my book is launching and I like to think that a lot of people are aware of it, but I don’t want to take that for granted. And so as an example of our launch day, I gave Rich Johnston over Bleeding Cool an exclusive, like I gave him five pages of art that I wasn’t going to share anywhere or show anywhere else and gave him the exclusive. So he was launching the announcement of the Kickstarter campaign when the campaign was launching, at the same time the campaign was launching. And he liked it because he got to do a cool little exclusive. And I loved it, of course, because now I’ve got the Bleeding Cool audience, some of the Bleeding Cool audience, who are definitely fans of comic books, hopefully looking at that article, checking out the cool art and clicking the link and going to the Kickstarter. And then I try to schedule out stuff like that throughout the campaign. So three days into the campaign, as I’m talking, and Comic Geek Speak, the guys over at Comic Geeksweeks interviewed me yesterday and they posted the podcast today and they’re doing a little bit of promo for me as well on top of that. So I’ve got a podcast out there talking about me and it’s not just this podcast, which is me talking about myself every single week. There is this podcast though, if people have been listening to the podcast recently, they know, they’ve heard the little cheesy commercial that I made. Maybe you’re going to hear it

[00:29:10] Intro: right now. Hey everybody, it’s David and I want to take a break for just a second to to talk to you about my new book, “Super Kaiju Ruck and Rolodurby Funtime Go, Ujipengu Flames.” This is the story of Harmony, Lyra, Melody, Cadence, and Viola, a gown on their luck, all-girl garage band, turned Rolodurby Divas, who just might be the only people on the planet that can shave it from total annihilation at the hands of giant kaiju monsters of mass destruction. Super Kaiju Ruck and Rolodurby Funtime Go is a glorious mashup and revitalization of 70s pop culture beats, from Black exploitation films to Saturday afternoon kung fu cinema to kaiju movies. A wildly successful Kickstarter original graphic novel series featuring incredible, great talents such as myself and the amazing interior art of Rolo Miata. The book “Three Kickstarters” is now live. We have some great cover artists that have joined us for this one. Tuma Hill, who has been covering “Absolute Wonder Woman,” “Absolute Batman,” and “Superman” recently has done a cover for us. We also have works from Netadeas, the lead story artist for the Uncanny X-Men, and of course the all-time great Jean Brothers, who are the interior artists for Miss Nina and the Midnight Guardians.

[00:30:24] David: Go to get.funtimego.com, that’s get.funtimego.com, and check out everything about the book. Also we have a very special VIP offer. If you want to throw a dollar our way, the VIP offer basically gets you access to a 30% discount and also there’s some special pledge tiers this time that only VIPs are going to get access to and we’re doing special limited edition items that only the VIPs will have access to. So that’s git.untimego.com. Book3 Kickstarter campaign is live right now. If you have enjoyed the show, the best way to support John and I are to buy our books. Thank you so much for listening and thank you in advance for your support. Get.funtimego.com. The Book 3 Kickstarter campaign is live. All right, thanks everybody. Let’s get back to the show.

[00:31:17] John: It’s amazing. I can get this on Kickstarter right now. I wasn’t listening earlier. But a commercial comes on and I’m there. You’re right now, John.

[00:31:26] David: So you know, I do stuff like that. I’ve got some other interviews set up, you know, over the course of the next two or three weeks. I’m just trying to find fun little thing people to talk to and I think we were talking about this with you a couple weeks ago, John, but that in and of itself is a real challenge trying to get anybody to give you any kind of coverage is just It’s exhausting. It’s like pulling teeth and just nobody cares If you’re not drawn spider-man, nobody cares inside of comic books I should say outside of comic books is actually sometimes easier like i’ve i’ve had more success getting people who talk about like Monster movies, you know like Godzilla movies Yeah I’ve had more success talking to people that are in the Godzilla movies about super competitive rock and roll derby fun time though Then I have about the comic book industry people this time though I will say it’s been better like people are engaging with me now It was real crickets when I was talking about a couple weeks ago But people have really sort of come out of the woodwork to help support in a more meaningful way than I’ve seen in the past It might be because you know, this is the third book in six Kickstarter campaign So people were sort of, I don’t know, maybe, I don’t know how I wasn’t a proven legitimate person before, but maybe that’s what it took. So I don’t know. I’ve got some fun stuff lined up this time. Do the non-comic book readers convert over to sales? It depends on what we do. So again, inside of Kickstarter, if you know anything about social media marketing, you can give somebody like a specific tag so that you know that anybody that’s coming from a link that, you know, you give of somebody that it’s coming from them. So we’ve done that in the past and yeah, it’s not, it’s not like huge numbers, but on Kickstarter, you’re charging a premium for the product. Typically Kickstarter is not a place to go as a customer to find bargains, right? A Kickstarter is a place to go to find really cool, interesting stuff that you might not necessarily find at the big two, but you’ll still be super into and hopefully be of a quality that you like. If you’re paying a premium for a premium product, it doesn’t take a lot of people to make that a meaningful number. If I get 10 people and they’ve all pledged $25, that’s a meaningful amount of money to me. I don’t know about anybody else, but I’ll take it. When we get, let’s say, 10 people from a Kaiju thing and maybe they never bought comic books before, those 10 people definitely move the needle for us.

[00:33:47] John: That made a lot of sense and the idea of having to be a comic book reader who also likes Kaiju, having to be the ones that buy this instead of it being somebody who likes Kaiju, full stop wanting to buy it because the comic book is the sort of thing anybody would like to read. Taking advantage of that seems really smart. If you’re really a tennis comic, you should be reaching out to tennis people, not to comic book people. That makes a lot of sense. Yeah.

[00:34:09] David: Yeah, in North America, it’s largely superhero comic books. And so anytime you’re outside of that sort of like norm, it’s just harder. It’s as hard to convince a comic book reader in North America to try something with giant monsters and hot girls on roller skates playing guitars. It’s just as hard to convince them to read your book as it is to convince somebody who’s never read a comic book before, but loves Kaiju or loves roller derby. That’s the same, but the difference is that the number of people who love monster movies is actually much larger. It’s a much larger pool than the number of people who read comic books. So ignoring that giant pool of people who love monster movies is ignorant, right? That’s not a smart business move. I love the comic buying community. Clearly I love the comic book buying community. We’re on here every single week talking to the comic book buying community and talking about comic books that we’re buying. But I also recognize that in order for me to be success– my books to be successful, while I like to think that the general comic book buying audience would like what I’m doing, I like to think that. I think I’m making like fun action-adventure fighty-fight kind of books that the general comic book buying audience in North America will like. There still is some barrier there because there’s not– no one’s in tights and no one’s wearing a cape. Whereas, you know, convincing somebody who loves Godzilla to read a comic book, that seems like an easier lift sometimes.

[00:35:37] John: Yeah, I mean, I think that makes a lot of sense with the way comics have moved in culture and the way culture is moved, that we equate the people who go to comic book stores every week to read superhero stuff with people who are fans of the medium of comics and those don’t always overlap. Yeah, hitting the people who like good comics or whatever you make. No, I’m just kidding. But who like good comics or like a general sense, like whatever you like, the stuff you would be hearing. A general you, not David Hedgecock. Yeah, I got it. The kickstart person makes… Yeah, also if you’re into monster movies, most of the stuff you like aren’t comics, so something is a comic that’s unique and interesting. If you like comic books, then something’s a comic book that there’s a tautology or something there.

[00:36:20] David: Yeah. And then if you have a bunch of cool stretch goals like, “Oh, I’m going to get them and try this comic book for this…” Well, for me, it’s a graphic novel, right? “I want to try this cool graphic novel.” It’s a… And the graphic novel is a Harvard cover, right? It’s got a spine, right? If I’m a non-comma book guy and I see, “Oh, this is a hardcover, it’s got a spine, it’s got, you know, it’s a thick book and it’s got pictures instead of prose,” that’s not a hard thing for me to imagine sitting down with. I’m very familiar with sitting down with a hardcover book that’s very familiar to me.

[00:36:52] John: What imagery do you find is most enticing? Like, the book isn’t printed yet, but you have renders of the book as if it was a printed hardcover book up there so you can see that it’s a hardcover when you look at it. You have a lot more done that is not up on the Kickstarter page. How do you decide what to show or what not to show?

[00:37:10] David: So for me, what I do is I use my Facebook, my social media marketing. I talked earlier about those 10 weeks leading up to the launch of the campaign. I use that social media marketing to figure out what images are the most popular images with the general audience, basically. I’m the former editor in chief of a major comic book company. So I know sort of I have a good idea of what people like to see, you know, on a cover as an example, I’ve got a pretty good eye for like good art and what I think is people are going to be attracted to and not, but I don’t rely strictly on that. I will take let’s say 15 to 20 samples images right from from the book that we’ve already made. And that’s another thing is that I always have the book done before I launched the Kickstarter. And the reason for that is I don’t want to have to be making that book while I’m trying to market and do the Kickstarter campaign. And also, if I’ve got the book done, I’ve got the most amount of material available to me to try to market that thing. I will take like 15 or 20 images from the book, you know, covers or interior shots or whatever, and put those out in various different with various different messages on Facebook. And then I just let the algorithm tell me what’s working and what’s not. Like what are people attracted to? And a lot of times it’s exactly what I think people are going to attracted to. It’s hot girls. That’s what the book’s about. It’s about hot girls looking cute fighting monsters. So that’s my audience. But sometimes I’m surprised. Sometimes an image will get a lot of traction that would not have been one that was even, you know, just threw it in there just to see what would happen. You know, by the time I hit the campaign, I know what people like. And that’s the first image everyone’s going to see. So for this book three of this campaign, the Chuma Hill cover features this cute demon girl in roller skates looking provocatively at the camera. By far, that image was the one that everybody responded to. And it was like not even close. People were 15 times more likely to click on the image featuring Diva’s demon than any others of the other stuff we did. So when you go to the Kickstarter campaign, the first thing you see is the Chuma Hill cover because I know that that’s what people gravitated to. So that’s kind of how I do it. That’s kind of my little cheat code there. But I also just like sort of think about what are the things that I want to see when I’m looking at a Kickstarter campaign, like basic stuff like how many pages is your book and is it a saddle stitch or is it a hardcover with a spine? What are the details of that? I want people to know that I take the production values very seriously and that they’re not just buying a comic book. They’re buying a really nice graphic novella, you know, in a hardcover. And so people need to know that. So I make sure that that information is available to them. And I really think it’s important for people to see the interior art of the book. I’m also very, very proud of the fact that I somehow managed to convince Rolo to draw this book for me. And so I want to show off a lot of his art because it’s fantastic. I think this stuff’s amazing. And I know there’s a lot of people that agree with me. And so the more I show his work and show the interior page without giving anything away, of course, but the more I can show of his stuff, like the more we’re going to sell.

[00:40:26] John: Those are kind of down at the bottom of the Kickstarter page. You kind of, you have to kind of scroll past the other stuff to get to that. And that’s presumably intentional that the big

[00:40:35] David: images and orders up top. At this point, for like the first campaign, we sort of put it higher in the on the page, like we kind of put it more forward at the interior art. Yeah. But at this point where we have to also be aware of like, oh, you know, we’ve got people that have already read the first two books and they might not necessarily want to see those pages because they don’t want to have anything spoiled because even without any lettering or if you see the page, you might be able to, you know, draw some conclusions about what’s going to happen in the story and people don’t want to have the book spoiled. And I, I’m trying to serve a little bit two masters there, right? Like, let’s not spoil it for the fans that are already there because we love you guys and we don’t want to spoil it for you. I want you to be excited when you read the book for the first time, just the way I was when I was writing the script. I’m like, oh, wow, is that what we’re doing? I did not know that. But we also, you know, want to show those pages because people that are coming in for the first time, they got to see, like, well, I think it’s important that they see like, no, we’re not messing around here. This is like legit high end stuff that Rollo’s doing.

[00:41:43] John: Pretty random. Jay Gonzo did a box for you. I met Jay Gonzo at Comic Con this past year. And it turns out he went to high school with my girlfriend in high school. Like she was at a different high school. He was at the same high school that she was- Oh really? He brings that up and then he goes home. He sends me a copy of a picture of his yearbook where he’s taken a picture of her to prove that he was there at the same time. And the funny thing is, like, he’s like, everything he was saying was in the assumption that I was still in contact with my girlfriend from high school, who I do still talk to. Like, that’s the craziest part.

[00:42:17] David: They are still in touch.

[00:42:17] John: Yeah, yeah. That was funny. He’s a nice guy. Great artist.

[00:42:20] David: I just love Gonzo’s work. And a lot of the stuff that I get for the campaigns, I see an artist that I really like, or I have a relationship with an artist that I really love. So I just have them do a piece and I kind of, after the fact, figure out what I’m going to do with it. And so Jay Ganso was sort of one of those guys. I was like, man, I love this little like Day of the Dead, Delos Muertos sort of feel to that he was doing with certain covers. And I really wanted him to see how he would imagine our book. And so when then when I got I was like, Oh, man, I love this piece so much. I don’t want it to be just a pin up in the book. What can we do with this? And so that’s how we ended up putting it on the collector’s box because it was just it just felt like perfect for that. He’s getting more and more popular. But thankfully, he agreed to do the first four. So the first four graphic novellas that we do is sort of like completes the first story arc. And he’s doing the box art for all four of those all four collector boxes for the first four, we’ll probably switch it up after that, you know, have a different theme, because the book really kind of dramatically changes with the next story arc. So we’ll probably switch it up on who’s doing the art for the collector boxes. But having Jay on those, those first four hours, like, I feel so lucky to have that.

[00:43:33] John: Yeah, he’s awesome. Yeah. Yeah. Like I emailed him about a thing he was working on and he was in a car with Dave Baker and Nicole. He was? Yeah, they’re friends.

[00:43:44] David: That tracks because they’re, Dave was from Arizona at one point, I think. And I think that’s where Jay is as well. I think they’re somewhere in Arizona. So there you go, John, there’s some Kickstarter 101. Any other questions?

[00:43:54] John: No, that’s amazing. I feel like I got, I don’t know, I hope I had the right questions that was interesting.

[00:44:00] David: People are interested in hearing more about this. I’m happy to talk about it more. Again, I’m not trying to brag when I say like I’ve put a lot of energy, thought, and money into this particular form of distribution, Kickstarter. Yeah. There’s some mistakes that people just don’t have to have. So I’m happy to share my knowledge with folks. So if people like this, drop some notes in the comments and ask in questions and we’ll try to answer them on the next couple episodes. Awesome.

[00:44:27] Outro: That’s great.

[00:44:34] David: Should we try to do our weekly feature?

[00:44:37] Outro: Here’s what John and David read this weekend!

[00:44:58] John: really like I was like wow you know what a time we were in comics because a lot of times we talk about stupid old comics and I’m about to do that and I just want to like preface that with like man there’s also just what a what a great time to be reading comics everything else aside you know like all the business all the nonsense all the distribution stuff all the sales things all the stuff there’s just so much good comics right now all over the place I’m I’m excited about it.

[00:45:26] David: I agree 100%. I know I’ve been, well, I think everybody on the planet is sort of bashing Marvel lately, but even if Marvel isn’t at the top of their game right now, there’s two or three that I really like and why I don’t need more. I’ve got Image and DC and Madcave and IDW and all these other independent in Kickstarter. Oh dear God, so many Kickstarter. It’s a great time. I agree.

[00:45:46] John: Destination Kill, I thought was fantastic. That was a great first issue. issue one is out by Joe Palmer from Destination Kill. Yeah. Who’s publishing that one? I don’t

[00:45:58] Intro: know. I haven’t heard that one. It’s an Oni book. It’s a like judge-ready comedy science fiction

[00:46:05] John: story. Like it’s a comedy. Okay. Judge-ready comedy. The art’s beautiful. Writing was really nice. Really good. Like really sort of satire about a train being built 100 years in the future between London and New York. Various AI and robot chaos that comes at that and people opposed to the to that kind of stuff fighting. Good stuff. Really enjoyed it. Yeah, check that out. I shouldn’t have just talked about it because that is what I just talked about. I wouldn’t even say that much. I just wanted to be excited about the comics. Another thing we’ve maybe complained about or maybe I’ve complained about here is sort of late late period Neil Adams and how I’m not always like the biggest fan of some of that stuff. And this isn’t like super late period. This is this This is not a new comic. This is an old comic. This is a 30-year-old comic. But I found the exact right thing tonally for that stuff to be attached to. It was a comic from a publisher called Now Comics called Mr. T and the T Force. I remember this coming out, and I’d never read it. I do too. It is bonkers. Neil Adams applied to just Mr. T being awesome and doing stuff. one is just is him smashing a car because these drug dealers are there and he’s gonna stop him and then he does and then he gets zapped but then he gets back up and then he pulls a gun and then I go, “What are you gonna do with that gun?” Because that’s not a gun, it’s a camera. I’m recording you guys because Mr. T doesn’t use guns. Then he beats them all up and then he makes this… he finds a crack baby in a dumpster and he gives it to the guy who was selling the crack earlier, there’s a lot to unpack about the appropriateness of a white guy writing this comic or the appropriateness of me, a white guy reading this comic and enjoying it. There’s a lot going on there morally, but Mr. T is just such a positive, exciting guy. So here’s, it comes with a trading card that popped open this poly bag and got this trading card out.

[00:48:01] David: You know, photo of Mr. T. Oh, hell yeah, dude. Look at that trading card. Yeah. No, I gotta describe this trading card real quick before you go. I know there’s something on the back. So it’s Mr. T, everybody knows who Mr. T is, if you don’t look it up. And he’s shirtless with about 4,000 gold chains around his neck and some gold rings on his fingers and gold earrings. And I think he’s got a giant gold buckle on his belt as well. It’s on those.

[00:48:30] John: What is this, amateur hour? David, you forgot the bracelets.

[00:48:32] David: Yeah, the gold bracelets too. But you pulled the card away and started looking at yourself. So I wasn’t just going from memory for a minute there. In track shorts. Oh, is in track shorts? I didn’t catch that part. Oh, fantastic. That’s the real deal, man. Now, it’s just with a great knowing look straight into the camera too.

[00:48:51] John: The smiling, friendly look that made Mr. T, from being the bad guy in Rocky to just being a thing that all kids are aged, liked Mr. T, and he had a cartoon show. The cartoon isn’t this. This isn’t anything to do with the cartoon. The back of the card says, “Mr. T burst onto the silver screen as Clubber Lang in the popular film Rocky III. He set of this role,” and I’m not going to do the voice, but you got to imagine it, “I could never have played Clubber if I couldn’t read the script. If you want to get somewhere in life, you’ve got to read. T’s tips, comic books, especially Mr. T and the T Force, are a great way to enjoy reading.” [laughter] Hell yeah, dude. If you don’t know Mr. Teal, he’s a very positive guy. He’s out there trying to get people to read and be good to each other and that kind of stuff. At least that’s my take on what he’s all about. At the end, he’s talking on the radio bracelet to the kid who he made take the crack baby to the hospital, and then the nurse almost quit, but then she didn’t. He’s talking to him, and he just jumps through a roof. And he’s jumping a rooftop to rooftop, but then he positions himself so he just kicks through the next roof and he lands and faces like this inexplicably giant guy who says you you are the one who is delayed the planting Nothing up to now has been about this and it’s to be continued

[00:50:16] David: I don’t think there was ever a number two the guy looks a little like strife from new mutants X force Wow, that’s crazy Yeah, what’s crazy? He’s just out of the blues right there

[00:50:26] John: Yeah, the arts great. It’s a Neil Adams and continuity studios doing the art Neil Adams wrote in Pete Stone writing the hell out of the story that art looks pretty peak man

[00:50:36] David: That looks like some pre-choice Neil Adams. He’s got the like this down too for the most part like Neil Adams is like

[00:50:43] John: Incredible with that stuff like I mean, you know, like this isn’t like this isn’t as good as like Superman versus Muhammad Ali Which is genuinely like really really good and goofy and fun, you know, this is pretty good fun, but it’s pretty I don’t know I enjoyed it. I had a good, I had a better time with that. I thought that was a good

[00:51:00] David: poll, man. I feel like we were keeping score. You’d be like blowing me out of the water. I think, yeah, I don’t think I’ve won a single week if we were keeping score. That’s a great poll. Mr. T and the T force, man. It kind of came with a trading card back in the day. The version you got was already, was still poly bagged. It looks like a sweet book too. It’s like, it looks like near mint to

[00:51:18] John: me, man. Yeah. Yeah. Yeah. So pull that off my bear. Did you get $10,000? No, wait. I mean, like, like about $4. No, I don’t remember what it was. You can find it. You just don’t get it. Yeah, you should find it. They made a lot. All right.

[00:51:34] David: We were talking the other day, I think you brought it up. Seth Fisher, the artist. But I don’t remember how did he come up?

[00:51:40] John: I think it was, we were talking about comics, the magazine, and they had a feature about Seth Fisher. Oh, yes, we’re doing it. Just related to them kind of doing cool stuff, like highlighting him, even though most of his books aren’t in print, or I think none of his books are in print, then kind of that coming up as being a bit of an injustice. It’d be nice to get some of that

[00:51:58] David: stuff back in print. So I was like, oh Seth Fisher, yeah, I remember really liking his art back in the day, but I haven’t thought about it in quite some time. So I was like, I’ll see if I can pick something up. So I got The Flash, Time Flies, which is one of his earliest DC books. I think it’s his first solo project. It seems like the DC editorial wasn’t quite sure what to do with him especially for that time. But they put him on this one shot, Flash Time Flies, the stories by John Rosam. It’s a time travel story, and they sort of do some hand waving for the time traveling stuff. It’s a fun, rock solid read, but the artwork is just really jaw-dropping. Seth Fisher’s level of inventiveness in his art is incredible, and the story sets him up for success because it’s in the future, And the Sosa fish herder essentially gets to create what the future looks like. And it’s just really fun, interesting mix of organic and high in techno feel. It feels like Neo Tokyo times 10 from the blade runner, you know, it’s just like, it’s got that feeling everything is rendered fully and completely rendered all the way through. We’re huge fans of Sergio Aragon is around here. And it’s like, you don’t want to say more realistic version of Sergio Aragon is because that’s not quite fair to Sergio, but there is that level of line work and stuff happening on every page and every panel of the book. It’s like a Sergio Aragones amount of information that Seth is presenting in every panel on every page. So I just loved it and immediately after reading it, I thought maybe I’d do a little bit more of a deep dive on Seth Fisher because I don’t know, I thought maybe our listeners would like to know. about Seth Fisher. He passed away seemingly right when his career was getting ready to take off. Really tragically too, he was living in Japan, in Tokyo I think, and somehow he fell off a seven-story building and died. I don’t think they found him until the next morning.

[00:54:07] John: Oh, is that? Yeah, I don’t remember that detail. My understanding is that he would do crazy parkour style stuff almost and it went wrong. I don’t know the details of it, I might be totally wrong and I don’t mean any offense to Seth Fisher’s family or anything like that, but I just mean like it wasn’t euphemistically like he fell off a building. It was that that’s that’s what happened.

[00:54:28] David: He unintentionally went off a building. It certainly sounds like it was it was unintentional. It sounds like he had just wrapped up Big in Japan which was a fantastic for Iron Man

[00:54:36] John: crossover. He had just wrapped up making the buildings look less like penises in Big in Japan. I can, like, specifically say a thing that he did.

[00:54:45] Intro: Okay. Were you involved in that project?

[00:54:47] John: No, Corey Sutherland was editing that. He was a, he was, he’s the guy that does like a lot of the Marvel film work stuff. He was the guy who was actually trying to think of his name the other week when we were talking. And Corey was really tight with, he wasn’t really an editorial anymore, like part of editorial, but on the collected edition side of editorial. He was tight with Seth and he really liked it. And I was like, his like passion project as an editor was trying to get this Big in Japan out. Yeah, he was a unique artist and his star was certainly rising. He certainly had people that were starting to like draw like him. I used to have like an artist who I had some of my pages on his wall and somebody came in and he’s like, that’s awful. It looks like he’s copying Seth Fisher. I’m like, I mean, he kind of is, but he, you know, he really likes Seth Fisher. He’s a new artist and he grew into a very good artist. Anyway, I’m sorry. I’ve never

[00:55:30] David: read, I’ve never read this one. Sorry, go ahead. Yeah, Big in Japan, the Fantastic Four Iron Man 4-ish mini-series written by Zeb Wells. That was the last thing he did. There were a few things published posthumously. One in particular was a story that was in “Locking Key,” “Welcome to Lovecraft” special edition. He did some work with Joe Hill. Also, interestingly, he was one of the lead designers for the Myst 3 exile video game. Sort of derailed the beginning of his comic book career because he got pulled into that for a year before he sort of jumped back in.

[00:56:02] John: Oh, like, like, NYST, the… Yes, NYST 3, Colin Edzall.

[00:56:08] David: Yeah, he was one of the artists for that. So, and it tracks because when you look at the work that he does in comic books, it’s the level of inventiveness, especially in his architecture and buildings and landscapes. Really high, high level of skill. If anyone’s interested in learning more about Seth Fisher and his life, his mother apparently keeps a website active about him and about his work. It’s called FloweringNose.com. FloweringNose, just like N-O-S-E, like your nose. And it’s very sweet. It’s got a nice remembrance of him, sort of talks about him as a person and his career. It’s got some really cool artwork. So even if you don’t like want to pick up one of his books, it might be worth going over to FloweringNose and just seeing some of the work that he produced there because it’s really cool, interesting. And so it’s kind of nice, bitter sweet I guess that his mom’s got that so active and still uh as far as I can tell you know he’s still contributing to it in some way shape or form just keeping it around I think is probably contributing to it and you can learn more about him he was born in Coronado which is here in San Diego yeah he lived in Coronado first part of his life uh and did live in San Diego at another point and time in his life and San Diego Comic Con was a big influence on him for his decision to go into to become a comic book artist. - Wow. - One of San Diego’s own. I definitely recommend checking out The Flash Time Flies by John Rosam and Seth Fisher. Some fantastic artwork, the story’s just fine. It’s sort of a flash forward, if you will, story. And I’ve found the Fantastic Four Iron Man Big in Japan is on the Marvel app. So I started reading that last night and I finished the first issue and really enjoyed that. The one that I remember the most actually, hold it up on the DC comic app, which is Green Lantern’s Will World.

[00:57:56] Outro: Yeah.

[00:57:57] David: That’s the one that I remember the most connected to Seth Fisher, and that’s written by J.M. DeMatteas, which to me feels like a perfect marriage. J.M. is one of those writers who can kind of do everything, but he definitely can do wild out there, seemingly stream of consciousness type of storytelling. And the Green Lantern Will World and Seth Fisher’s art really seemed to lend itself to J.M.‘s particular style of storytelling. That one I think definitely I’ve read it for, I really enjoyed it. I pulled that one up on the app and read that one too. So doing a little Seth Fisher dive, that’s where I started, The Flash. Time flies. I recently read that D’Amatis did

[00:58:35] John: this gargoyle limited series of Marvel in the 80s with Mark Badger. You can definitely see that sort of like D’Amatis working with somebody like Mark Badger or Seth Fisher, as well as the stuff that you maybe think of him on like creature commandos or Justice League or Justice League International. I was actually thinking of his previous run on Justice League when I was saying that, but yeah, so Fisher, good poll. He’s great.

[00:58:57] David: I’m glad we brought him up the other day. Definitely went down a fun little mini rabbit hole there. Yeah. I think that’s it, John. We should probably let people go. They got other things to do, but listen to us all day. Sounds good. All right. Thanks everybody for listening. I hope you got something out of that. I hope that little education piece at the beginning helped you out. And if anything, at least you know that you need to go read Mr. T on a T Force, like, because it looks awesome. So thanks for listening, like and subscribe, and tell a friend. And we’ll see you next week here on

[00:59:25] John: The Corner Box. Thanks everybody. This has been The Corner Box with David and John. Please take a

[00:59:32] Outro: moment and give us a five-star rating. It really helps. And join us again next week for another dive into the wonderful world of comics.