August 16, 2025 • 46 mins
Ahead of the Peacemaker season two premiere, Warner Bros. will release Superman on streaming and DVD since it is a precursor to the new season. Speaking of second seasons, Amazon revealed the New Vegas storyline from the games will inspire Fallout's next season. In reality TV, Traitors will be getting a non-celebrity season. DC and Marvel comics bring some of the greatest minds in comic books to team up for multiple crossovers. Finally, Rosie sits down with Robert Kirkman and David Finch to discuss their latest work, Skinbreaker.
Follow Rosie: IG & Letterboxd
Follow X-Ray Vision on Instagram
Join the X-Ray Vision Discord
See omnystudio.com/listener for privacy information.
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
On today's episode, we're talking about the Home Alone director's
thoughts on reboots of Home Alone and more. It is news. Hello,
(00:24):
I am is Jason Sepsion and I'm Rosie Night and
welcome back to xt revision of the podcast Vibe is
Your Favorite Shoes, movies, comments and pop culture. Comingy from
My Heart podcast, where we're bringing you three episodes a
week plus news.
Speaker 2 (00:37):
It's news plus news. In today's previously on episode, we
are catching you up on all the biggest geeky news
of the week, including, oh, a little bit of reality
TV news, guys. A new version of The Traitors I
would say probably the most popular new addition to the
reality TV Smorgas Board is coming to NBC and there
(00:59):
is a twist. And we got some juicy new DL's
about the Fallout TV show new season, and of course
a few other stories too. And we will be introducing
a new segment that I'm sure you guys will have
a lot of fun with. So let's go.
Speaker 1 (01:15):
Let's go to the headlines. First up, Superman sourced the
digital ahead of the release of Peacemaker on Max. Superman
is getting an early digital release. It's going to be
available on your desktop or top device of choice on
August fifteenth, twenty twenty five. Of course, this is ahead
(01:36):
of the season two debut of Peacemaker on August twenty second.
James Gonna explain that the quick digital release was specifically
to allow people to watch Superman before Peacemaker season two.
There must be some tie ins there since the movie serves,
he says, as a precursor to the show's events. And
of course, well, I almost spoiled a small plot point
(02:00):
in the Superman movie. But if you haven't seen the
Superman movie, guess.
Speaker 2 (02:02):
What you're gonna be able to watch the DATO.
Speaker 1 (02:04):
Recording this on August fifteenth, Go go purchase it right now.
Superman has just surpassed three hundred and thirty one million
domestic It's at five eighty worldwide since its July eleventh release,
which feels about the new industry standard for a super
hero movie.
Speaker 2 (02:20):
Yeah, this is an interesting one because we were recently
just everyone was just cheering Superman because the physical release
was going to be forty five days, the classic standard
amount after a release. So I think this is interesting choice.
But it makes sense because it's clear that Superman is
really obviously important to Peacemaker. They're saying that, like Green Lantern,
(02:44):
Guy Gardiner will be in it, Hawkgirl in it, be
in it, Maxwell Lord will be in it. Honestly, I
think that the way the show and the Shared Universe works,
I think they could have trusted audiences a little bit
more to be able to just watch it and then
go back and Superman. But why not make that easy?
That's the point of all of this, I get it.
I think that Superman has had a solid theatrical run.
(03:07):
It was really keeping a lot of people away from
seeing Fantastic Four. If we look at those numbers, like
Superman just kept going really well at the box office.
I'll be interested to see if they keep it in
the cinema until the physical release. I think it would
be worthwhile. People still seem to be interested in seeing it. Anna,
I'm very interested to see how successfully DC are able
(03:31):
to connect the movies and the TV show, because this
was not something Marvel ever really had a proper go
at with the MCUTV because it was all released during COVID.
This is a much more direct here's a movie, Here's
how it's going to impact the TV watch the TV
show will be very interesting to see if Peacemaker pulls
in a really high amount of viewers because of the connection,
(03:52):
will it happen? I don't know, Jason, what do you think.
Speaker 1 (03:54):
I think they will see a slight pump, but I
don't think a meaningful bump. I think probably everybody who
really wanted to watch Peacemaker on Max is just gonna
has The Traders coming to NBC with a much asked
for non celebrity version. So Traders, if you're watching it
(04:15):
now in its third season, I believe, is a TV
show that's basically like an adaptation of the party game Mafia.
But the difference between the American version of Traders and
the English version of Traders. The international version of Traders
is internationally like Survivor, they just like have a regular,
everyday people who apply to be on the show. In
(04:36):
the US, they've had celebs, and it's mostly been reality
focused celebs, people who have appeared on a Bravo show,
alumnus of the Survivor television program, or The Amazing Race
or Big Brother. And I think as a fan of Traders,
I myself have been asking for this non celebrity version
(04:57):
because I think one of the things we've seen in
these American seasons of Survivor is the contestants who come
from the competitive reality show Space Survivor Big Brother immediately
know what's going on and kind of dominate while the
Bravo people are like, what are we doing the like, yeah, yeah.
Speaker 2 (05:19):
That sounds about right. Also the UK version, and I
believe when it first.
Speaker 1 (05:24):
It's I mean it's one of the biggest hits in
the UK, not the biggest show in the UK.
Speaker 2 (05:28):
Yeah, And the original version was really interesting because they
did a mix of celebrities and non celebrities and that
was seen as like really cool. And then I think
they moved to the non celebrity version because they notice
the same thing as you, like, if you know the
rules of TV and you know how reality TV is made,
then you are much better suited to this.
Speaker 3 (05:50):
Though.
Speaker 2 (05:50):
I will say there has been some really funny moments
on the American Traders. I really loved to see that
guy Tom Sandovar just like the world like acting exactly
as you would expect him to act if you've watched
vander Pump Rules. Really fun stuff. Wow, so so funny.
And I think the thing that's really fun about Traitors
(06:12):
is it is based like you said on that game
that depending on where you come from, it's you know, mafia,
were wolf, murder, blink murder, whatever you call it. So
I think this is something that's really fun because we've
all played it, and I think that that lays out
a really interesting kind of accessibility to the traders that
(06:32):
some reality TV shows. Obviously, like The Bachelor. We've never
been in the Bachelor. It's not something you can relate to.
But you've played this game and you know the kind
of ways that it needs to be played. The thing
I'm most excited about, you've got to keep Alan coming
as the host. That is what the American show has show.
He is unbelievable, just best to ever do it. I
(06:55):
love him eating it up. I can't wait the time.
I'm glad there's going to be five seasons of this.
I think this is a very fun show.
Speaker 1 (07:02):
Let's take a quick break, will Grip, and we're back.
Fallout Season two is coming, and guess what, it's what
we all thought, which is it's going to be based
on the much beloved Wow Fallout New Vegas, which many
(07:27):
consider to be story wise, Yeah, the best Fallout game.
Speaker 2 (07:33):
Absolutely.
Speaker 1 (07:34):
I think it's very good. I am as well.
Speaker 2 (07:36):
My friend, my sweet beloved bestie Alex. I have watched
her play through this many times. This is definitely the
Fallout game that I know the most, and I think
like visually because of what Amazon has been doing with
this show and how much they've invested in it. This
reveal made me very excited to see what the show
is going to look like for season two.
Speaker 1 (07:57):
The poster art reveal has come out, and it's just
very unambiguously fall Out New Vegas. It's say, it has
the Fallout title branding, and then it has our main
characters walking towards the camera with you, welcome to New Vegas.
Speaker 2 (08:13):
Uh, just in case you don't know, Just in case
you don't.
Speaker 1 (08:18):
Know, and I don't know, man, I'm just I'm just
very very excited. Now. This show will take place after
the events of the games and will be considered canon.
Speaker 2 (08:30):
Oh okay, I love that.
Speaker 3 (08:32):
I like.
Speaker 2 (08:33):
I like something like that, because you know what West
comes to West. You can just say it's not kind
of off to with, like if it doesn't care, but
you know what, make the commitment.
Speaker 1 (08:42):
It's gonna be. It's gonna take place after obviously, like
kind of contemporaneously with the events happening right after the
events of season one, but after but fifteen years after
the events of the game Fallout, New Vegas. Oh, very
very excited. The show has already been renewed for a season.
It was the Fallout was one of our I think, surprise.
Speaker 2 (09:03):
Yeah, it just smashed television shows the cultural consciousness in
a way I don't think a lot of shows have,
and it had a really big crossover with like normal
TV viewing audiences who don't usually watch video game adaptations.
I think the casting is so smart in this show.
I think it makes you want to watch more of it.
I also think they did a really great job of
(09:24):
choosing characters to focus on to broaden the world. I'm excited.
I thought this is one of the best looking shows
that we've had in a long time. And I think,
if you're gonna make a video game adaptation like this,
make it serialized storytelling, invest in good writers, invest in
money for the show, and you can make something that's
really cool and has a crossover. Is it? This probably
(09:46):
also going to be the most you know, critically looked
upon with very thoughtful eyes season two since the last
of US Season two. Yes, this is going to be
like can you keep up the quality? Interesting to see,
but I believe they can do it, and I'm excited
that they said that missed the house. The almond zolaesque
(10:07):
kind of super computer that rules New Vegas will be
in season two. Big who is the voice gonna be?
Speaker 3 (10:13):
Like?
Speaker 2 (10:13):
Do they get it? Like, let's see. I'm excited it's
gonna be good.
Speaker 1 (10:18):
Up next. Columbus, director of the original Home Alone, says
don't you dare reboot this movie? They should be left alone.
Chatting with the Entertainment Tonight, director Chris Columbus you know
him from Harry Potter, than The Chamber of Secrets, Pertsie Jackson,
Pixels from Pussy Jackson of course from Home Alone, said
(10:40):
don't do it. Don't reboot him, leave him alone. You
can't capture the magic of the nineteen ninety film. Don't
do it. No, no, no, no no. I don't necessarily
disagree mister Columbus, but this is the world we live
in right now.
Speaker 2 (10:58):
It's the world we live in. I think that he
is correct because the first two movies are fantastic. I
would also say, has he been living under a rock?
Because there has been multiple like sequels and reboots, and
I feel like this ignores that fact. There was the
twenty twenty one Oh my god, what does time mean?
I definitely thought this was sooner. So sorry for my
(11:20):
previous shade to Christopher Columbus, but we not that Christopher Columbus.
I shade him all the time, but this Chris Columbus.
But the Home Sweet Home Alone, which was the kind
of British family reboot, for some reason Great Cast, did
not hit the same way. I think the only way
to reboot Home Alone would be to like do the
(11:41):
thing that fans and smart people on the internet have
been you know, saying for a long time, which is
what happens to Kevin McCallister after he does that, Like
what happens when he grows up? Does he become Jigsaw?
Like is he a psycho? Let's look into that. Let's
do something crazy if you're going to reboot it, because
you are never going to top the cozy home Christmas
feeling of those first two movies, which is hilarious to
(12:02):
say that because the child is kidnapped.
Speaker 1 (12:04):
Also, I think that in I don't know that in
nineteen ninety whenever that movie came out that it was.
I think if you had this same setup with a
family living in that house, like at the time, obviously
they were rich, but it didn't seem like, I don't know,
(12:28):
it was.
Speaker 2 (12:28):
Assalational middle class, like you'll mention a family income, right, But.
Speaker 1 (12:34):
I think if you had that exact same setup today,
you'd be like, how did this, How did this happen?
How did this family that earns five hundred million dollars
a year or whatever? Leave? I leave there everything point,
you know, So it's gonna be it's gonna be the
the class issue is going to be very.
Speaker 2 (12:51):
Different issue, very hot also as well, like just the
technology issue. Nowadays, kids are like putting people are putting
tags in that kid's shoes, so keep an eye on
that kids. I don't know that you would be able
to have a kid who was gonna be home alone
or away from his family in that way. So maybe
Chris Columbus is right. Honestly, I'm not averse to reboots
or reimaginings when they have a really cool take, but
(13:14):
I do think Home Alone one and two are two
of the best like Christmas movies ever made. So I
also feel like you can just leave it come up
with a new Christmas movie, Imagine.
Speaker 1 (13:22):
Finally, finally, some of the most intriguing is coming out
of saying Deadpool Batman crossover and the details are now
being revealed. Yes, this is what happens when the world's
greatest detective meets the merk with a mouth. We're gonna
find out.
Speaker 3 (13:38):
Uh.
Speaker 1 (13:39):
Batman slash dead Pool Number one is a sixty four page,
one shot crossover comic with a cover by Dan Mora.
It's gonna be eight bucks and it's hitting shelves Wednesday,
November nineteenth.
Speaker 2 (13:52):
It's I it's gonna be crazy.
Speaker 1 (13:56):
I can't believe that this is actually.
Speaker 2 (13:59):
Happening, utually crazy, because yeah, this has been you know,
wanted for a long time. It's been decades since there's
been a Marvel DC crossover like this, and they got
Grant Morrison to write the DC side of it. So
the fun thing about this is when they sent me
the PR release, they were like, this is the most
Grant Morrison Grant morrisoning you will ever see. So they say,
(14:19):
it's not just a comic book crossover between iconic publishers,
It's a metaphysical car crash between two storytelling philosophies. One
character Broud's in the shadows of trauma and justice. The
other cartwheels through chaos, breaking the fourth wall and occasionally
the law of physics. Together they're forced to confront a
threat that doesn't just endanger their world, it questions their
very existence as fictional constructs. So it's Grant Morrison Dan
(14:42):
Moore art. Dan is arguably one of the best, if
not the best, superhero artist right now, and there's going
to be bonus stories. And if you're in the comic
book space of your on comics, Twitter or Threads or
Blue Sky or Instagram, you will have seen these covers
because these are top tier combos. So you have Scott
Snyder teaming up with his one time mentee and now
(15:02):
kind of air to the comic book thrown James Tynan
with Joshua Williamson and Hayden Sherman. I love Hayden Sherman.
You probably sing him most recently on Absolute wonder Woman.
And they're gonna do a Constantine doctor Strange story sounds amazing,
the one I know everyone was really freaking out about.
Tom Taylor Bruno Rodondo back to tell another night Wing story.
(15:23):
But now it's Nightwing and Wolverine aka Laura Kinney X
twenty three. And then you've got Mariko Tamaki Amanda Connor
another killer combo with a great, really funny Amanda Conna
cover where they're at Coney Island having a hot dog
eating contest because it's Harlequin versus the Hulk. And then
an unexpected one for me here is g Willow Wilson
(15:44):
and Denny Cowan, one of the Milestone founders, and they
are going to do Static and Miss Marvel. So I
think this is gonna end up being a really huge
event and I just can't wait for a new Grant
Morrison story with art by Dan Mora, And Grant actually
said that's the reason he agreed to do it. He
wanted to work with Dan. And I love the idea
that the DC version because there will be a Deadpool
(16:07):
Batman number one that will be coming from Marvel after this,
and I'm just really excited to see what Grant does
with this. I love the way that they think about
characters and archetypes and the way that we kind of
recreate real oral storytelling traditions in the form of visual media.
So yeah, I just I think this is going to
be really fun and it's always good to have a
(16:28):
little comic book, little comic book news.
Speaker 1 (16:30):
And then finally a new segment which will come up
when needed, called Rosie explains the UK. You may have
seen coming across your social media feed the strange question
mark visage and form of a gentleman who is now
called the Ibitha Final Boss, with a meticulously quafft kind
(16:55):
of bowl haircut, this very monotone kind of goatee, a
muscled frame and a very big on his face as
he moves through the edm suffused dance floor of Abitha.
Rosie tell us about this archetype of the UK, this
(17:21):
kind of what is explain this person?
Speaker 2 (17:23):
Okay, so thank you first of all for inviting me
on here as a British expert. Obviously have not lived
there for nine years, but I stay up, stay up
on the things. My family still lives there, and yes,
the Abitha Final Boss quite easy to actually explain. In
England and in Britain in general, there is a tradition
of going to Abitha during the on season when all
(17:45):
the clubs are going and the DJs are there. There
has been many hilarious reality TV shows about people who
are in charge of these kind of over eighteen group
holidays that people often go on in Abtha where they
get massively fucked up on booze drugs and they go
and dance TDM and then they listen to you know,
chill House as the sun comes up, and that's the
Abitha thing. So going to Abitha he probably goes all
(18:09):
the time. He's got the British fake tan. That's a
big deal. This is a man with very white teeth.
He obviously watches a lot of realities. You think. I
think you've got to have the veneers. I have been
working on my teeth consistently since I moved in nine
years ago, because it is true that British people have
terrible dental care. And so I think he's got the veneers.
He's got the fake tan. That's a big part of
(18:30):
this culture. You've got to always look like you're slightly orange.
Speaker 1 (18:33):
Does this seem like a Northern I would say, I.
Speaker 2 (18:37):
Believe he is from Newcastle, which I think is you
know a good example of somebody that would probably be
like this means he's probably got an absolutely incredible accent.
I would say that you're most likely to see this
guy in a club. He's probably chill, you know, he
might he might be like all right, darling or something,
but generally probably just there with his friends on a
(18:59):
kind of between as esque, you know, adventure through Ibitha.
Which is you know, his job?
Speaker 1 (19:06):
What is his I'm gonna got to a talent agency now,
so his his circumstances might be changing, but what is it?
Speaker 2 (19:13):
What was his job? He's almost certainly like an electrician
or a plumber. He has a trade. And that's how
he's able to go to Ibetha every year with his boys.
He doesn't take his wife there. It's a boy's only thing.
I can certainly guarantee that we're gonna take a quick break.
Speaker 1 (19:28):
And when we come back our chat with Robert Kirkman
and David Finch.
Speaker 2 (19:42):
Hello, Robert Kirkman and David Finch, how are you doing today?
Thank you for joining us on X ray Vision.
Speaker 3 (19:50):
Couldn't be better. Happy to be here, very excited though
he was like David was like.
Speaker 2 (19:57):
Not this, not this again, not talking about common books?
How did you guys get into this? How how did
that happen? How am making another comic book? Guys? I
thought you were both done just.
Speaker 3 (20:10):
What I thought it was out, they pulled me back in.
I have no idea. I don't know. I never stop.
I I'm like a comic book making shark. I think
if I stop, I'll die.
Speaker 2 (20:20):
So I've always got to go forward. Well, would I
would love to know a little bit about the origin
of skim Breaker, because this is a new creator owned
project which is really exciting and I feel like very
different to what we're seeing in comics in general at
the moment, let alone for both of you. So, Robert
and David, what was kind of the origin of this project.
Speaker 3 (20:43):
Yeah, David and I met at Marvel Comics when we
were both doing books there many many years ago, and
we would, you know, get meals at conventions and hang
out at conventions and things, and we got to know
each other pretty well, and I was trying to talk
them into doing a book with me constantly, pretty much
on the right for many, many, many years, and it
just was never working out. We were both too busy
(21:04):
and our our you know, our our timing windows never
really aligned. But then at a certain point, you know,
like eight or nine years ago, Uh, he said, Hey,
you know, finally I finally got a window, and I
just absolutely jumped at the chance. I wanted to do
something that was very visual and gave him a lot
(21:24):
of room to show off and play, something that was
very action oriented, that was gonna have a lot of
splash pages and a lot of two page spreads and
not very many panels per page, a kind of artist showcase,
if you will. And I have, you know, story nuggets
that I that I log away when I have ideas, Oh,
it'd be nice to do a book about you know,
clouds or you know a lizard thing or you know whatever,
(21:47):
and I always consult that and I try to find like, okay,
what's what's the thing, and uh and yeah, I had
this thing about this primitive society that I thought, Okay,
I could definitely build this with David and turn it
into something cool. And so we started talking and through
our collaboration, you know, that proto nugget of a story
ended up making the Becoming skin Breaker.
Speaker 2 (22:09):
David, what was it like for you to get that
invitation to make something like this that is so visual.
I mean, it's even pretty quiet for a comic. There
is text, but this is really introducing us to the
world of skin Breaker, which is this very beautiful visual space.
What was it like building that?
Speaker 4 (22:30):
It was an incredible amount of fun after working on
so many comics for Marvel and DC, who I love,
and you know, I've had such a great time to
have the chance to be able to create something from
the ground up entirely and you know, all the characters
and the creatures and the backgrounds, and we talked about
what we wanted for Robert talked about what he wanted
(22:51):
for it quite a bit, and we went back and forth,
and then he just kind of let me go and
I made sure as much as aside from one spot,
I made sure to try to limit my choices to
things that wouldn't negatively affect the story. So but yeah,
it was It was incredibly gratifying to do.
Speaker 2 (23:14):
Robert. Could you talk a little bit about what it
was that drew you to this, because I do think
like when we're storytellers, we always have fifty stories in
our back pocket, like I'm doing I'm actually got a
creep show story coming out in the new issue this
year and stuff, and you always have all those different nuggets.
But what was it for you that drew you and
(23:34):
specifically working with David to this kind of really hard
fantasy space, which I feel like is a pretty different
space for you.
Speaker 3 (23:43):
Well, first of all, I would do anything that David
wanted to do. I was very excited to be working
with him, and so you know, any subject matter would
be okay with me. And I try to make sure
that my projects are as different as possible. I think
that if you look at my body of work, you
can see that they're not all alike. They're all very different,
(24:03):
and hopefully by design, they feel like they could be
by different writers. I like to do different things and
challenge myself to explore different things, and and yeah, I
haven't done a fantasy, sci fi kind of thing before,
and so you know, I'm a huge fan of you know,
Codam the Barbarian and the movie Apocalypto and Mad Max
(24:26):
Fury Road, and I wanted to do something that was
like very action oriented and but but you know, art
forward and simple and you know, very much based on visuals.
But something that just kept making me excited about this
story was the humanity of it and the emotion that
these characters feel and what they're going through and the
(24:48):
challenges that they face. I think this is a very
relatable story, and it's a very human story despite the
fact that it's more or less about monsters on an
alien world.
Speaker 2 (24:58):
David, you mentioned kind of the extensive work that you've
done for the Big Two. How fun is it to
really get to build a world on your own, like
alongside Robert. But this has not gotam This is not Metropolis,
this is not something that's existed before this first issue.
You really get to go out there and bring a
(25:19):
new world to the reader. So what was that like?
Speaker 3 (25:25):
It was?
Speaker 4 (25:26):
It was great. It's scary to do and so often
when I'm designing things, I feel like I'm just making
things up, like none of this is real, you know,
like it's hard for it to feel real. You know,
hopefully that makes sense. But I also had a lot
(25:46):
of influences that I brought into it. This is such
a different kind of project for me. I've never done
anything remotely like it, And I looked at a lot
of Michael Koaluda and Pee Craig Russ and Bertie writes,
and I was able to try things that I just
never really had a chance to try before. So while
(26:08):
I got to design so many things, you know, I
had a lot of help from some incredible artists over
the years that have been big influences too.
Speaker 2 (26:16):
Yeah, you mentioned that feeling of like, when you're creating
something like this, it's almost hard for it to feel
real because there's so much expanse possibility. There's so many
different alien spaces, there's so many different creatures. What was
the moment when you were drawing Issue one where the
world really started to feel real to you and kind
of textured.
Speaker 4 (26:40):
You know, probably after about ten pages or so, I
started to get more comfortable with characters and more comfortable
with I had drawn enough of the world that it
started to feel like a real thing to me. When
I read the script, it could be anything, and then
when I make a choice, I'm throwing away so many
(27:02):
things that I didn't choose. And it's always kind of
in the back of my head when I start something
that it could have been it could have been better,
you know, it could always be better, And that's I
think what makes it difficult just starting. And when I
say that it doesn't feel real, I think that's what
I mean is I don't know if it's something I'm
explaining well at all.
Speaker 2 (27:21):
No, I think it's really interesting and people who listen
to the to this podcast, they love to hear people
talking about their creative process and how things are made
and how you work with people. And I think that,
especially with a book like this is so visually intricate,
it's really interesting to hear you kind of pass creating
it because it feels very whole. When you read skin
(27:43):
Breaking number one, it feels like a world that you
guys have lived in, and especially with you know, Analyst's
incredible colors and Ross's great letters and stuff. So no, no,
I appreciate you digging into it.
Speaker 3 (27:56):
Well, thank you.
Speaker 2 (27:59):
Yeah, Robert you How did it feel to take that nugget,
take those nine years of trying to you know, make
a connection with this brilliant artist and make this book together.
What did it feel like to start getting those pages
back and start getting the sketches back and start to
see the world come to life?
Speaker 3 (28:17):
Oh my gosh, it's the best. It's the absolute. I mean,
it's the reason I do what I do, the getting
those pages in, you know, seeing the book coming to life.
Being able to write haphazard paragraphs describing insane images and
then get them printed into beautiful works of art. It's
the real thrill that drives me as a as a writer.
(28:38):
So to have something as nebulous as an idea is
when you're first writing the script and you're first having
the conversation suddenly be solid and real and something you
can stare at is always moving and always like life
changing and life affirming for me. And so it's it's really,
it really is the thing that drives me to keep
(29:00):
doing what I'm doing. Uh. You know, you have that
epiphany where you think to yourself, if I if I
write more, I get more art in from the artists.
So I think I'm going to write more this This
is exciting. So so yeah, it's it's a huge, huge
part of my life and being as as huge a
fan as of David's work as I am. Uh, and
(29:23):
then to for the first time be getting pages back
from him that I wrote really moving and just really
exciting and and definitely the culmination of you know, many
many years of you know, working and and and uh,
you know, trying to find the time to do something
with him, and it's great to finally be here.
Speaker 2 (29:42):
Yeah, and something that I'm really interested in that you
kind of talked about there for a minute earlier. It
was like you're always writing comics, right, the comic writing shark.
I like that you're always going forward. I would love
for you to talk a little bit about why comics
are still so important to you, because I think a
lot of people who'd have a massive success with a
lot of people may assume that once you've had massive
(30:04):
success with adaptations, and you've even managed to have multiple
lives in that space, from The Walking Dead to Invincible,
why do comics? Why are comics always still something that
you come back to.
Speaker 3 (30:18):
I mean because I love comics. That's what I wanted
to do when I was a kid. I didn't say, hey,
I want to work on a TV show when I
get older, I want to make movies or anything like that.
I wanted to make comics. Comics weren't a consolation prize
for me. Comics were the goal. I think there's a
lot of self loathing people in comics that would love
to be doing something else. I can't wait to get
through these comics so that I can go direct a
(30:38):
film or write it for TV, or yeah, work on
a novel or whatever. And I am not that comics
were the end goal for me, to be completely honest,
I am the co showrunner on the Invincible television show.
Right now, it is a necessary evil. It is a
thing that I have to do because I have the opportunity,
(31:00):
and I do love the characters and I do love
working on it. But there is not a minute when
I am working on Invincible where I'm not thinking to myself,
I'd rather just be writing comics right now. And that's
not to say it's not fun and that I don't
enjoy working on it. I do enjoy working on it,
not as much as I do working on comics.
Speaker 2 (31:20):
Yeah, Comics are a pretty magical and unique space, especially when,
like you were saying, in a story like this, you
get to write a paragraph and then somebody like David
gets to interpret and create a whole new life in
a way that we don't often get to see.
Speaker 3 (31:35):
And if you do that in a TV show, you
have to have meetings and you have to describe the paragraph,
and you have to talk to somebody about what you're
going to do with the paragraphs the paragraph, They give
you iterations of the paragraph, and then you have to
have notes, meetings to It's just it's tedious. It's very tedious.
Speaker 2 (31:51):
Comics are a lot more direct David. You talked a
little bit about some of those creators that had, you know,
inspired you andarticularly with this story, like people like Bernie Wright. So,
but going back a little bit further, like do you
remember the first comic book that made you feel really
excited and want to be maybe in that space or
(32:13):
think like, oh, this is something I want to do.
Speaker 4 (32:15):
I want to pissue this the first comic that made
me And there were there were a few. My sister
read comics. I me a year younger, and I used
to steal her books and so I got whatever it
was that she she got. The first one that really
resonated for me and made me a fan of superhero
(32:37):
comics was X Men by John Byrne and Chris Claremont.
It didn't make me want to draw comics, so just
because John Byrne's art with Terry Austin inking it's so
precise and clean and consistent, never occurred to me that
I could do it at all. It just it was
just too far out of reach.
Speaker 3 (32:56):
It was.
Speaker 4 (32:56):
And I told Marx Sevestri this because it was Marx
Vestry art. He drew X Men quite a bit after,
but it was his work on x Men and Wolverine
that made me want to draw comics. He's being inked
by Dan Green. It was a more fluid, looser style,
and it seemed more approachable to me, And I think
(33:20):
I might have offended. I'm saying that because it's I learned.
My lesson the kind of work that he does is
it's not easy at all, but it seemed that way.
It just maybe it's more how my brain worked, and
so that's what really got me drawing, is looking at
that work. It was right around when Image was just starting.
(33:40):
Went to the comic store and I wanted to get
more Wolverine from Ox Vestry, but he was already gone.
He was doing Cybo Force, and so I got Spawn
and young Blood and it was such an exciting time
because I'm an image comics artist at heart.
Speaker 3 (33:59):
That's where I started and it's what I.
Speaker 4 (34:01):
Love the most, and so and I realized this is
what I want to do when I saw that work.
And yeah, it's been that ever since for me.
Speaker 2 (34:11):
And I'm sure, like I think Mark's like one of
the kindest people in comics, and I'm sure that he
also understood like the peel of image at that time
was actually that young, upstart mindset, the looseness, the free
that feeling. It's not it was a it was an energy,
you know. I even remember I was a little little kid,
(34:31):
and I still remember how much that kind of came through.
So I love that that was your way in and
now you know, with back again with this skybound creator
owned in this space. So what is it then like
for you two now to be as people who I
know both did come up as fans obviously Robert, We've
(34:52):
even talked about that before. But what does it feel
like now to be authoring this story that is so different,
that is in this creator own space together, Like what
does that feel like?
Speaker 4 (35:02):
David Well, I do want to point out that I
did not author this at all.
Speaker 2 (35:07):
No, no, sorry, sorry, I mean author in the sense
of like you're both making it together, like not writing.
Sorry sorry, But I.
Speaker 4 (35:14):
Do want to say this is this is Robert's story
one hundred percent. I really don't. I had an influence
in the visuals, and I'm very proud of that and
I'm very grateful that I was able to do that.
But working with a great writer, for me, it's just
(35:34):
always it's a privilege, And so I want the story
to be what it was originally intended to be. And
I just I don't see it as my role to
try and push ideas on a story or try and
push it in directions. I think it's you know, it's
a great story to start, So I do want to
say that.
Speaker 2 (35:55):
You're like, it's a good story. You're like, that's why
I did it. I liked it, and that isn't that
nice to hear of it?
Speaker 3 (36:00):
It's very nice to hear. But I think David is
being you know, his way is to be overly humble.
I mean, I wrote a word document that no one
is ever going to want to look at that that
was my contribution to this project. I'm very proud of
the story, and I think it holds together very well,
and I'm so thrilled with these characters. But there's so
much more to these characters than the words that they
(36:23):
say or the descriptions of what they're doing. And even
you know, having written that, there's so much of this
book that David influenced through drawing the book. And I
was writing it as he was drawing it, because I
was giving him, you know, ten to twenty page chunks
sometimes less. Let's not out me right now, David.
Speaker 2 (36:43):
But David's clearly a collaborator. He is not going to
out you. But if you want to say, what the
short is the Mountains?
Speaker 3 (36:53):
There might have been some three page scripts I don't remember,
but yeah, the story was evolving as he was drawing it,
and I was taking as much inspiration from what he
was drawing to move forward as he was taking from
the scripts to draw it. This book was a true
collaboration in every sense of the word.
Speaker 2 (37:11):
Yeah, I think that comes across. I was, honestly, David.
I've read so much your work, and this still, to
me just felt like I was seeing something entirely new,
the level of intricacy and especially the creature work and
the world and I love Could you talk a little
bit about the color palette? Like, was that Anna Lisa
Leoni's Like? Was that entirely hers? Did you collaborate on it?
(37:35):
Did you touch on it? Because it is such a
unique looking.
Speaker 4 (37:38):
Book, it is, and that is entirely Ana Lisa, That's
all her choices. I had actually no concept in my
head at all about color. Generally, when I'm drawing, I'm
so focused on the black and white work that it
just becomes like the end all and be all, and
I don't think beyond that. Also, working with anybody, I
(38:02):
think that that really knows what they're doing and is
top of their game. I stay out of their way
as much as possible, because I can't do what she
can do it at all. I think me trying to,
you know, stick my nose in there, would just make it,
make it worse.
Speaker 2 (38:17):
So well, but all of them feel me and you
are going to have to become David's cheerleaders for this
book to be Like, David, you're doing a great job,
but you really are a massive part of the book.
Speaker 3 (38:29):
Well, I mean to a certain extent. I just handled
the visuals. It's kind of like, aside from that, how
was the places Lincoln? Yeah, the visuals are a big part,
and he was responsible for far more than just the visuals.
Speaker 2 (38:44):
But but yeah, David, how did it feel then to
see Anna when you cause you say, the black and
white becomes bee all and end all? What does it
feel like for then you to get to see her
reinterpretation of the world when she puts those colors onto it.
Speaker 4 (39:00):
I felt like it really it leveled it up from
you know, illustration to an immersive world and a very original,
immersive world. Just the colors that you brought to it
made it feel different than anything that I've seen. Just
the patterns and the choices she made were so unusual
(39:22):
and so unexpected from me. I did find, you know,
toward the end, I was actually starting to as I
was drawing the pages, imagine what the colors would be.
And even then, you know, we would actually get the
pages back and it would still be a surprise.
Speaker 2 (39:37):
So well, this has been such a long collaboration, and
then you know, we've kind of talked about different parts
of it. So I love letting people in to know
about how a book gets made. And obviously one of
those last and most important parts is the letters. So
could you I love the way Russ chose to letter this.
Could you talk a little bit about Robert about like
(39:57):
those choices. It's very like manga. I feel like it's
when you're putting that last collaborator into the book, Like
why is that so important? Why did the letters matter?
Speaker 3 (40:10):
Russ Wooten letters every book that I write. He's definitely
my go to preferred letter. I think that his real
strength is that he can tailor his work to every
single book. So if you look at his body of work,
his body of work is somewhat similar to mine in
that when you look at a book lettered by Russ Wooten,
(40:31):
you often don't realize it was lettered by Russ Wooten
because it is a completely different and distinct style. I
was picking up a comic recently and I thought to
my I was looking at it, and I thought to myself, ooh,
Russ Wooten getting a run for his money. I got
to find out who this guy is. This is some
really good lettering. And then I went to the credits
and it was Russ Wooten.
Speaker 2 (40:51):
Yeah.
Speaker 3 (40:51):
So I love being able to sit down with him
and kind of talk about the project and kind of
just say, okay, I'm thinking, you know, something like this
for this, and and maybe try this and and and
watch him you know, and we'd go back and forth.
He'll send me some examples of what he's thinking about
doing and some test pages and things, and it is
always a very streamlined I give him a very brief
(41:14):
like this is what I'm thinking, and then he sends
in some kind of option, and nine times out of
ten I go, yep, perfect, great run with it. And Yeah,
we talked about manga and tall balloons because I wanted
the balloons to be as compact as possible and take
up as little space as possible and giving it that
like tall oval feel. I thought that that would look
(41:36):
look the best on the on the work, and and yeah,
I think it's a it's a really great look, and
it has really allowed for some strategic placement to kind
of be kind of tucked away so that it's not
taking up too much space. But it is very readable
and very easy for the eye to follow and does
stand out in the art. And I don't know, it's
(41:56):
it's a. I think it's a really cool piece of work.
And I love able to talk about lettering. A lot
of people don't ask about that stuff.
Speaker 2 (42:02):
So yeah, I've been lucky enough to work with On
my last Godzilla graphic novel, I worked with Jody Troutman,
who was just such an unbelievable letterer and like the
first sample page she ever did, she used my collaborate
all of our owners incredible artists. She used his logo
for Godzilla with one of the kids saying when one
(42:23):
of the kids was saying Godzilla, and I was just
like yes, like I feel like I'm a little kid
reading Superman and seeing that. I think it's really important
because also I think that's a cool space where people
could get into making comics, even if they're not necessarily
artistically minded, Like lettering is a really important job, and
Russ is one of the best. So I think you
guys put together a really special team. And the book
(42:44):
is really exciting if our listeners they're going to be
able to pre order it. Skin Breaking Number one? What
can you tease about this story, Robert? If you're getting
them excited, they know it's this fancy on an alien world.
It's kind of that Swords and Sorcery esque, but it's
also got those fantasy creatures. But what is the longer
(43:07):
story of skin Breaking? And it's going to be gosh.
Speaker 3 (43:11):
I mean, as a tease, I can say that issue
too gives you a better sense of the scope of
the storyline, and I do want that to be somewhat
startling and as you experience it, so I don't want
to tease it too much. But I love that this
is a finite story. It's got a beginning, middle, and
an end. It's not it's not my usual way of
(43:33):
doing comics. I try to do comics that last until
you hate them. That's that's usually my goal. So so
so yeah, it's you know, this is this is something
that I think is going to end pretty spectacularly and
have like a I don't know, a very succinct story
that kind of holds together, which I'm excited about. Uh
(43:53):
But but yeah, there's a lot more brutality and a
lot more heart and emotion. If you like the first issue,
there's going to be some some cool stuff that follows
from that. And I feel like I've done a bad
job of.
Speaker 2 (44:03):
Teasing a great job I think the idea.
Speaker 3 (44:06):
Until somebody makes me stop to try and compensate.
Speaker 2 (44:08):
For the fact that I think that this first issue
has a really interesting and I would say, like quite
wide scope. So I'm very excited about the concept of
seeing that change or shift an issue too. It's not
something I would imagine. David, just before we finish, is
there a page or a panel or a moment that
(44:29):
you're most excited for people to see. You don't have
to describe the whole thing. You can just be like, yes,
maybe coming up here, or is there something about the
art that you're just really excited for people to discover.
Speaker 4 (44:41):
Yeah, you know what there is Actually this is very late.
This might be issue seven or so six, I don't know.
But there's a double page spread of one of the
characters holding up his sword and he's ducking down and
the creature's coming Adam, and the sword cuts through the
(45:02):
creature and the creatures like splitting in half through the sword. Anyway, Yeah, sound,
I mean, these are the pages I had love to
draw and I get excited about and then the book
comes out and I like all the quiet stuff.
Speaker 2 (45:14):
You know, But it's the joy of it's the joy
of comics. We get to do all of it sometimes
in one issue, which is very magical. But yeah, thank
you guys so much for joining us. Always welcome to
come back. Love to talk comics with you guys, and yeah,
congrats on skin Breaker. Can't wait to read.
Speaker 3 (45:33):
More than Thank you so much. It's a lot of fun.
That's it for news.
Speaker 1 (45:38):
Thanks for listening.
Speaker 2 (45:39):
Bye.
Speaker 1 (45:46):
X ray Vision is hosted by Jason Ceps Young and
Rosie Night and is a production of iHeart Podcast.
Speaker 2 (45:51):
Our executive producers are Joel Monique and Aaron Korfman.
Speaker 1 (45:54):
Our supervising producer is Abusa part.
Speaker 2 (45:57):
Our producers are Common, Laurent Jonathan and Bay Wack.
Speaker 1 (46:01):
A theme song is by Brian Vasquez, with alternate theme
songs by Aaron Kaufman.
Speaker 2 (46:05):
Special thanks to Soul Rubin, Chris Lord, Kenny Goodman and
Heidi our discord moderator,
On today's episode, we're talking about the Home Alone director's
thoughts on reboots of Home Alone and more. It is news. Hello,
(00:24):
I am is Jason Sepsion and I'm Rosie Night and
welcome back to xt revision of the podcast Vibe is
Your Favorite Shoes, movies, comments and pop culture. Comingy from
My Heart podcast, where we're bringing you three episodes a
week plus news.
Speaker 2 (00:37):
It's news plus news. In today's previously on episode, we
are catching you up on all the biggest geeky news
of the week, including, oh, a little bit of reality
TV news, guys. A new version of The Traitors I
would say probably the most popular new addition to the
reality TV Smorgas Board is coming to NBC and there
(00:59):
is a twist. And we got some juicy new DL's
about the Fallout TV show new season, and of course
a few other stories too. And we will be introducing
a new segment that I'm sure you guys will have
a lot of fun with. So let's go.
Speaker 1 (01:15):
Let's go to the headlines. First up, Superman sourced the
digital ahead of the release of Peacemaker on Max. Superman
is getting an early digital release. It's going to be
available on your desktop or top device of choice on
August fifteenth, twenty twenty five. Of course, this is ahead
(01:36):
of the season two debut of Peacemaker on August twenty second.
James Gonna explain that the quick digital release was specifically
to allow people to watch Superman before Peacemaker season two.
There must be some tie ins there since the movie serves,
he says, as a precursor to the show's events. And
of course, well, I almost spoiled a small plot point
(02:00):
in the Superman movie. But if you haven't seen the
Superman movie, guess.
Speaker 2 (02:02):
What you're gonna be able to watch the DATO.
Speaker 1 (02:04):
Recording this on August fifteenth, Go go purchase it right now.
Superman has just surpassed three hundred and thirty one million
domestic It's at five eighty worldwide since its July eleventh release,
which feels about the new industry standard for a super
hero movie.
Speaker 2 (02:20):
Yeah, this is an interesting one because we were recently
just everyone was just cheering Superman because the physical release
was going to be forty five days, the classic standard
amount after a release. So I think this is interesting choice.
But it makes sense because it's clear that Superman is
really obviously important to Peacemaker. They're saying that, like Green Lantern,
(02:44):
Guy Gardiner will be in it, Hawkgirl in it, be
in it, Maxwell Lord will be in it. Honestly, I
think that the way the show and the Shared Universe works,
I think they could have trusted audiences a little bit
more to be able to just watch it and then
go back and Superman. But why not make that easy?
That's the point of all of this, I get it.
I think that Superman has had a solid theatrical run.
(03:07):
It was really keeping a lot of people away from
seeing Fantastic Four. If we look at those numbers, like
Superman just kept going really well at the box office.
I'll be interested to see if they keep it in
the cinema until the physical release. I think it would
be worthwhile. People still seem to be interested in seeing it. Anna,
I'm very interested to see how successfully DC are able
(03:31):
to connect the movies and the TV show, because this
was not something Marvel ever really had a proper go
at with the MCUTV because it was all released during COVID.
This is a much more direct here's a movie, Here's
how it's going to impact the TV watch the TV
show will be very interesting to see if Peacemaker pulls
in a really high amount of viewers because of the connection,
(03:52):
will it happen? I don't know, Jason, what do you think.
Speaker 1 (03:54):
I think they will see a slight pump, but I
don't think a meaningful bump. I think probably everybody who
really wanted to watch Peacemaker on Max is just gonna
has The Traders coming to NBC with a much asked
for non celebrity version. So Traders, if you're watching it
(04:15):
now in its third season, I believe, is a TV
show that's basically like an adaptation of the party game Mafia.
But the difference between the American version of Traders and
the English version of Traders. The international version of Traders
is internationally like Survivor, they just like have a regular,
everyday people who apply to be on the show. In
(04:36):
the US, they've had celebs, and it's mostly been reality
focused celebs, people who have appeared on a Bravo show,
alumnus of the Survivor television program, or The Amazing Race
or Big Brother. And I think as a fan of Traders,
I myself have been asking for this non celebrity version
(04:57):
because I think one of the things we've seen in
these American seasons of Survivor is the contestants who come
from the competitive reality show Space Survivor Big Brother immediately
know what's going on and kind of dominate while the
Bravo people are like, what are we doing the like, yeah, yeah.
Speaker 2 (05:19):
That sounds about right. Also the UK version, and I
believe when it first.
Speaker 1 (05:24):
It's I mean it's one of the biggest hits in
the UK, not the biggest show in the UK.
Speaker 2 (05:28):
Yeah, And the original version was really interesting because they
did a mix of celebrities and non celebrities and that
was seen as like really cool. And then I think
they moved to the non celebrity version because they notice
the same thing as you, like, if you know the
rules of TV and you know how reality TV is made,
then you are much better suited to this.
Speaker 3 (05:50):
Though.
Speaker 2 (05:50):
I will say there has been some really funny moments
on the American Traders. I really loved to see that
guy Tom Sandovar just like the world like acting exactly
as you would expect him to act if you've watched
vander Pump Rules. Really fun stuff. Wow, so so funny.
And I think the thing that's really fun about Traitors
(06:12):
is it is based like you said on that game
that depending on where you come from, it's you know, mafia,
were wolf, murder, blink murder, whatever you call it. So
I think this is something that's really fun because we've
all played it, and I think that that lays out
a really interesting kind of accessibility to the traders that
(06:32):
some reality TV shows. Obviously, like The Bachelor. We've never
been in the Bachelor. It's not something you can relate to.
But you've played this game and you know the kind
of ways that it needs to be played. The thing
I'm most excited about, you've got to keep Alan coming
as the host. That is what the American show has show.
He is unbelievable, just best to ever do it. I
(06:55):
love him eating it up. I can't wait the time.
I'm glad there's going to be five seasons of this.
I think this is a very fun show.
Speaker 1 (07:02):
Let's take a quick break, will Grip, and we're back.
Fallout Season two is coming, and guess what, it's what
we all thought, which is it's going to be based
on the much beloved Wow Fallout New Vegas, which many
(07:27):
consider to be story wise, Yeah, the best Fallout game.
Speaker 2 (07:33):
Absolutely.
Speaker 1 (07:34):
I think it's very good. I am as well.
Speaker 2 (07:36):
My friend, my sweet beloved bestie Alex. I have watched
her play through this many times. This is definitely the
Fallout game that I know the most, and I think
like visually because of what Amazon has been doing with
this show and how much they've invested in it. This
reveal made me very excited to see what the show
is going to look like for season two.
Speaker 1 (07:57):
The poster art reveal has come out, and it's just
very unambiguously fall Out New Vegas. It's say, it has
the Fallout title branding, and then it has our main
characters walking towards the camera with you, welcome to New Vegas.
Speaker 2 (08:13):
Uh, just in case you don't know, Just in case
you don't.
Speaker 1 (08:18):
Know, and I don't know, man, I'm just I'm just
very very excited. Now. This show will take place after
the events of the games and will be considered canon.
Speaker 2 (08:30):
Oh okay, I love that.
Speaker 3 (08:32):
I like.
Speaker 2 (08:33):
I like something like that, because you know what West
comes to West. You can just say it's not kind
of off to with, like if it doesn't care, but
you know what, make the commitment.
Speaker 1 (08:42):
It's gonna be. It's gonna take place after obviously, like
kind of contemporaneously with the events happening right after the
events of season one, but after but fifteen years after
the events of the game Fallout, New Vegas. Oh, very
very excited. The show has already been renewed for a season.
It was the Fallout was one of our I think, surprise.
Speaker 2 (09:03):
Yeah, it just smashed television shows the cultural consciousness in
a way I don't think a lot of shows have,
and it had a really big crossover with like normal
TV viewing audiences who don't usually watch video game adaptations.
I think the casting is so smart in this show.
I think it makes you want to watch more of it.
I also think they did a really great job of
(09:24):
choosing characters to focus on to broaden the world. I'm excited.
I thought this is one of the best looking shows
that we've had in a long time. And I think,
if you're gonna make a video game adaptation like this,
make it serialized storytelling, invest in good writers, invest in
money for the show, and you can make something that's
really cool and has a crossover. Is it? This probably
(09:46):
also going to be the most you know, critically looked
upon with very thoughtful eyes season two since the last
of US Season two. Yes, this is going to be
like can you keep up the quality? Interesting to see,
but I believe they can do it, and I'm excited
that they said that missed the house. The almond zolaesque
(10:07):
kind of super computer that rules New Vegas will be
in season two. Big who is the voice gonna be?
Speaker 3 (10:13):
Like?
Speaker 2 (10:13):
Do they get it? Like, let's see. I'm excited it's
gonna be good.
Speaker 1 (10:18):
Up next. Columbus, director of the original Home Alone, says
don't you dare reboot this movie? They should be left alone.
Chatting with the Entertainment Tonight, director Chris Columbus you know
him from Harry Potter, than The Chamber of Secrets, Pertsie Jackson,
Pixels from Pussy Jackson of course from Home Alone, said
(10:40):
don't do it. Don't reboot him, leave him alone. You
can't capture the magic of the nineteen ninety film. Don't
do it. No, no, no, no no. I don't necessarily
disagree mister Columbus, but this is the world we live
in right now.
Speaker 2 (10:58):
It's the world we live in. I think that he
is correct because the first two movies are fantastic. I
would also say, has he been living under a rock?
Because there has been multiple like sequels and reboots, and
I feel like this ignores that fact. There was the
twenty twenty one Oh my god, what does time mean?
I definitely thought this was sooner. So sorry for my
(11:20):
previous shade to Christopher Columbus, but we not that Christopher Columbus.
I shade him all the time, but this Chris Columbus.
But the Home Sweet Home Alone, which was the kind
of British family reboot, for some reason Great Cast, did
not hit the same way. I think the only way
to reboot Home Alone would be to like do the
(11:41):
thing that fans and smart people on the internet have
been you know, saying for a long time, which is
what happens to Kevin McCallister after he does that, Like
what happens when he grows up? Does he become Jigsaw?
Like is he a psycho? Let's look into that. Let's
do something crazy if you're going to reboot it, because
you are never going to top the cozy home Christmas
feeling of those first two movies, which is hilarious to
(12:02):
say that because the child is kidnapped.
Speaker 1 (12:04):
Also, I think that in I don't know that in
nineteen ninety whenever that movie came out that it was.
I think if you had this same setup with a
family living in that house, like at the time, obviously
they were rich, but it didn't seem like, I don't know,
(12:28):
it was.
Speaker 2 (12:28):
Assalational middle class, like you'll mention a family income, right, But.
Speaker 1 (12:34):
I think if you had that exact same setup today,
you'd be like, how did this, How did this happen?
How did this family that earns five hundred million dollars
a year or whatever? Leave? I leave there everything point,
you know, So it's gonna be it's gonna be the
the class issue is going to be very.
Speaker 2 (12:51):
Different issue, very hot also as well, like just the
technology issue. Nowadays, kids are like putting people are putting
tags in that kid's shoes, so keep an eye on
that kids. I don't know that you would be able
to have a kid who was gonna be home alone
or away from his family in that way. So maybe
Chris Columbus is right. Honestly, I'm not averse to reboots
or reimaginings when they have a really cool take, but
(13:14):
I do think Home Alone one and two are two
of the best like Christmas movies ever made. So I
also feel like you can just leave it come up
with a new Christmas movie, Imagine.
Speaker 1 (13:22):
Finally, finally, some of the most intriguing is coming out
of saying Deadpool Batman crossover and the details are now
being revealed. Yes, this is what happens when the world's
greatest detective meets the merk with a mouth. We're gonna
find out.
Speaker 3 (13:38):
Uh.
Speaker 1 (13:39):
Batman slash dead Pool Number one is a sixty four page,
one shot crossover comic with a cover by Dan Mora.
It's gonna be eight bucks and it's hitting shelves Wednesday,
November nineteenth.
Speaker 2 (13:52):
It's I it's gonna be crazy.
Speaker 1 (13:56):
I can't believe that this is actually.
Speaker 2 (13:59):
Happening, utually crazy, because yeah, this has been you know,
wanted for a long time. It's been decades since there's
been a Marvel DC crossover like this, and they got
Grant Morrison to write the DC side of it. So
the fun thing about this is when they sent me
the PR release, they were like, this is the most
Grant Morrison Grant morrisoning you will ever see. So they say,
(14:19):
it's not just a comic book crossover between iconic publishers,
It's a metaphysical car crash between two storytelling philosophies. One
character Broud's in the shadows of trauma and justice. The
other cartwheels through chaos, breaking the fourth wall and occasionally
the law of physics. Together they're forced to confront a
threat that doesn't just endanger their world, it questions their
very existence as fictional constructs. So it's Grant Morrison Dan
(14:42):
Moore art. Dan is arguably one of the best, if
not the best, superhero artist right now, and there's going
to be bonus stories. And if you're in the comic
book space of your on comics, Twitter or Threads or
Blue Sky or Instagram, you will have seen these covers
because these are top tier combos. So you have Scott
Snyder teaming up with his one time mentee and now
(15:02):
kind of air to the comic book thrown James Tynan
with Joshua Williamson and Hayden Sherman. I love Hayden Sherman.
You probably sing him most recently on Absolute wonder Woman.
And they're gonna do a Constantine doctor Strange story sounds amazing,
the one I know everyone was really freaking out about.
Tom Taylor Bruno Rodondo back to tell another night Wing story.
(15:23):
But now it's Nightwing and Wolverine aka Laura Kinney X
twenty three. And then you've got Mariko Tamaki Amanda Connor
another killer combo with a great, really funny Amanda Conna
cover where they're at Coney Island having a hot dog
eating contest because it's Harlequin versus the Hulk. And then
an unexpected one for me here is g Willow Wilson
(15:44):
and Denny Cowan, one of the Milestone founders, and they
are going to do Static and Miss Marvel. So I
think this is gonna end up being a really huge
event and I just can't wait for a new Grant
Morrison story with art by Dan Mora, And Grant actually
said that's the reason he agreed to do it. He
wanted to work with Dan. And I love the idea
that the DC version because there will be a Deadpool
(16:07):
Batman number one that will be coming from Marvel after this,
and I'm just really excited to see what Grant does
with this. I love the way that they think about
characters and archetypes and the way that we kind of
recreate real oral storytelling traditions in the form of visual media.
So yeah, I just I think this is going to
be really fun and it's always good to have a
(16:28):
little comic book, little comic book news.
Speaker 1 (16:30):
And then finally a new segment which will come up
when needed, called Rosie explains the UK. You may have
seen coming across your social media feed the strange question
mark visage and form of a gentleman who is now
called the Ibitha Final Boss, with a meticulously quafft kind
(16:55):
of bowl haircut, this very monotone kind of goatee, a
muscled frame and a very big on his face as
he moves through the edm suffused dance floor of Abitha.
Rosie tell us about this archetype of the UK, this
(17:21):
kind of what is explain this person?
Speaker 2 (17:23):
Okay, so thank you first of all for inviting me
on here as a British expert. Obviously have not lived
there for nine years, but I stay up, stay up
on the things. My family still lives there, and yes,
the Abitha Final Boss quite easy to actually explain. In
England and in Britain in general, there is a tradition
of going to Abitha during the on season when all
(17:45):
the clubs are going and the DJs are there. There
has been many hilarious reality TV shows about people who
are in charge of these kind of over eighteen group
holidays that people often go on in Abtha where they
get massively fucked up on booze drugs and they go
and dance TDM and then they listen to you know,
chill House as the sun comes up, and that's the
Abitha thing. So going to Abitha he probably goes all
(18:09):
the time. He's got the British fake tan. That's a
big deal. This is a man with very white teeth.
He obviously watches a lot of realities. You think. I
think you've got to have the veneers. I have been
working on my teeth consistently since I moved in nine
years ago, because it is true that British people have
terrible dental care. And so I think he's got the veneers.
He's got the fake tan. That's a big part of
(18:30):
this culture. You've got to always look like you're slightly orange.
Speaker 1 (18:33):
Does this seem like a Northern I would say, I.
Speaker 2 (18:37):
Believe he is from Newcastle, which I think is you
know a good example of somebody that would probably be
like this means he's probably got an absolutely incredible accent.
I would say that you're most likely to see this
guy in a club. He's probably chill, you know, he
might he might be like all right, darling or something,
but generally probably just there with his friends on a
(18:59):
kind of between as esque, you know, adventure through Ibitha.
Which is you know, his job?
Speaker 1 (19:06):
What is his I'm gonna got to a talent agency now,
so his his circumstances might be changing, but what is it?
Speaker 2 (19:13):
What was his job? He's almost certainly like an electrician
or a plumber. He has a trade. And that's how
he's able to go to Ibetha every year with his boys.
He doesn't take his wife there. It's a boy's only thing.
I can certainly guarantee that we're gonna take a quick break.
Speaker 1 (19:28):
And when we come back our chat with Robert Kirkman
and David Finch.
Speaker 2 (19:42):
Hello, Robert Kirkman and David Finch, how are you doing today?
Thank you for joining us on X ray Vision.
Speaker 3 (19:50):
Couldn't be better. Happy to be here, very excited though
he was like David was like.
Speaker 2 (19:57):
Not this, not this again, not talking about common books?
How did you guys get into this? How how did
that happen? How am making another comic book? Guys? I
thought you were both done just.
Speaker 3 (20:10):
What I thought it was out, they pulled me back in.
I have no idea. I don't know. I never stop.
I I'm like a comic book making shark. I think
if I stop, I'll die.
Speaker 2 (20:20):
So I've always got to go forward. Well, would I
would love to know a little bit about the origin
of skim Breaker, because this is a new creator owned
project which is really exciting and I feel like very
different to what we're seeing in comics in general at
the moment, let alone for both of you. So, Robert
and David, what was kind of the origin of this project.
Speaker 3 (20:43):
Yeah, David and I met at Marvel Comics when we
were both doing books there many many years ago, and
we would, you know, get meals at conventions and hang
out at conventions and things, and we got to know
each other pretty well, and I was trying to talk
them into doing a book with me constantly, pretty much
on the right for many, many, many years, and it
just was never working out. We were both too busy
(21:04):
and our our you know, our our timing windows never
really aligned. But then at a certain point, you know,
like eight or nine years ago, Uh, he said, Hey,
you know, finally I finally got a window, and I
just absolutely jumped at the chance. I wanted to do
something that was very visual and gave him a lot
(21:24):
of room to show off and play, something that was
very action oriented, that was gonna have a lot of
splash pages and a lot of two page spreads and
not very many panels per page, a kind of artist showcase,
if you will. And I have, you know, story nuggets
that I that I log away when I have ideas, Oh,
it'd be nice to do a book about you know,
clouds or you know a lizard thing or you know whatever,
(21:47):
and I always consult that and I try to find like, okay,
what's what's the thing, and uh and yeah, I had
this thing about this primitive society that I thought, Okay,
I could definitely build this with David and turn it
into something cool. And so we started talking and through
our collaboration, you know, that proto nugget of a story
ended up making the Becoming skin Breaker.
Speaker 2 (22:09):
David, what was it like for you to get that
invitation to make something like this that is so visual.
I mean, it's even pretty quiet for a comic. There
is text, but this is really introducing us to the
world of skin Breaker, which is this very beautiful visual space.
What was it like building that?
Speaker 4 (22:30):
It was an incredible amount of fun after working on
so many comics for Marvel and DC, who I love,
and you know, I've had such a great time to
have the chance to be able to create something from
the ground up entirely and you know, all the characters
and the creatures and the backgrounds, and we talked about
what we wanted for Robert talked about what he wanted
(22:51):
for it quite a bit, and we went back and forth,
and then he just kind of let me go and
I made sure as much as aside from one spot,
I made sure to try to limit my choices to
things that wouldn't negatively affect the story. So but yeah,
it was It was incredibly gratifying to do.
Speaker 2 (23:14):
Robert. Could you talk a little bit about what it
was that drew you to this, because I do think
like when we're storytellers, we always have fifty stories in
our back pocket, like I'm doing I'm actually got a
creep show story coming out in the new issue this
year and stuff, and you always have all those different nuggets.
But what was it for you that drew you and
(23:34):
specifically working with David to this kind of really hard
fantasy space, which I feel like is a pretty different
space for you.
Speaker 3 (23:43):
Well, first of all, I would do anything that David
wanted to do. I was very excited to be working
with him, and so you know, any subject matter would
be okay with me. And I try to make sure
that my projects are as different as possible. I think
that if you look at my body of work, you
can see that they're not all alike. They're all very different,
(24:03):
and hopefully by design, they feel like they could be
by different writers. I like to do different things and
challenge myself to explore different things, and and yeah, I
haven't done a fantasy, sci fi kind of thing before,
and so you know, I'm a huge fan of you know,
Codam the Barbarian and the movie Apocalypto and Mad Max
(24:26):
Fury Road, and I wanted to do something that was
like very action oriented and but but you know, art
forward and simple and you know, very much based on visuals.
But something that just kept making me excited about this
story was the humanity of it and the emotion that
these characters feel and what they're going through and the
(24:48):
challenges that they face. I think this is a very
relatable story, and it's a very human story despite the
fact that it's more or less about monsters on an
alien world.
Speaker 2 (24:58):
David, you mentioned kind of the extensive work that you've
done for the Big Two. How fun is it to
really get to build a world on your own, like
alongside Robert. But this has not gotam This is not Metropolis,
this is not something that's existed before this first issue.
You really get to go out there and bring a
(25:19):
new world to the reader. So what was that like?
Speaker 3 (25:25):
It was?
Speaker 4 (25:26):
It was great. It's scary to do and so often
when I'm designing things, I feel like I'm just making
things up, like none of this is real, you know,
like it's hard for it to feel real. You know,
hopefully that makes sense. But I also had a lot
(25:46):
of influences that I brought into it. This is such
a different kind of project for me. I've never done
anything remotely like it, And I looked at a lot
of Michael Koaluda and Pee Craig Russ and Bertie writes,
and I was able to try things that I just
never really had a chance to try before. So while
(26:08):
I got to design so many things, you know, I
had a lot of help from some incredible artists over
the years that have been big influences too.
Speaker 2 (26:16):
Yeah, you mentioned that feeling of like, when you're creating
something like this, it's almost hard for it to feel
real because there's so much expanse possibility. There's so many
different alien spaces, there's so many different creatures. What was
the moment when you were drawing Issue one where the
world really started to feel real to you and kind
of textured.
Speaker 4 (26:40):
You know, probably after about ten pages or so, I
started to get more comfortable with characters and more comfortable
with I had drawn enough of the world that it
started to feel like a real thing to me. When
I read the script, it could be anything, and then
when I make a choice, I'm throwing away so many
(27:02):
things that I didn't choose. And it's always kind of
in the back of my head when I start something
that it could have been it could have been better,
you know, it could always be better, And that's I
think what makes it difficult just starting. And when I
say that it doesn't feel real, I think that's what
I mean is I don't know if it's something I'm
explaining well at all.
Speaker 2 (27:21):
No, I think it's really interesting and people who listen
to the to this podcast, they love to hear people
talking about their creative process and how things are made
and how you work with people. And I think that,
especially with a book like this is so visually intricate,
it's really interesting to hear you kind of pass creating
it because it feels very whole. When you read skin
(27:43):
Breaking number one, it feels like a world that you
guys have lived in, and especially with you know, Analyst's
incredible colors and Ross's great letters and stuff. So no, no,
I appreciate you digging into it.
Speaker 3 (27:56):
Well, thank you.
Speaker 2 (27:59):
Yeah, Robert you How did it feel to take that nugget,
take those nine years of trying to you know, make
a connection with this brilliant artist and make this book together.
What did it feel like to start getting those pages
back and start getting the sketches back and start to
see the world come to life?
Speaker 3 (28:17):
Oh my gosh, it's the best. It's the absolute. I mean,
it's the reason I do what I do, the getting
those pages in, you know, seeing the book coming to life.
Being able to write haphazard paragraphs describing insane images and
then get them printed into beautiful works of art. It's
the real thrill that drives me as a as a writer.
(28:38):
So to have something as nebulous as an idea is
when you're first writing the script and you're first having
the conversation suddenly be solid and real and something you
can stare at is always moving and always like life
changing and life affirming for me. And so it's it's really,
it really is the thing that drives me to keep
(29:00):
doing what I'm doing. Uh. You know, you have that
epiphany where you think to yourself, if I if I
write more, I get more art in from the artists.
So I think I'm going to write more this This
is exciting. So so yeah, it's it's a huge, huge
part of my life and being as as huge a
fan as of David's work as I am. Uh, and
(29:23):
then to for the first time be getting pages back
from him that I wrote really moving and just really
exciting and and definitely the culmination of you know, many
many years of you know, working and and and uh,
you know, trying to find the time to do something
with him, and it's great to finally be here.
Speaker 2 (29:42):
Yeah, and something that I'm really interested in that you
kind of talked about there for a minute earlier. It
was like you're always writing comics, right, the comic writing shark.
I like that you're always going forward. I would love
for you to talk a little bit about why comics
are still so important to you, because I think a
lot of people who'd have a massive success with a
lot of people may assume that once you've had massive
(30:04):
success with adaptations, and you've even managed to have multiple
lives in that space, from The Walking Dead to Invincible,
why do comics? Why are comics always still something that
you come back to.
Speaker 3 (30:18):
I mean because I love comics. That's what I wanted
to do when I was a kid. I didn't say, hey,
I want to work on a TV show when I
get older, I want to make movies or anything like that.
I wanted to make comics. Comics weren't a consolation prize
for me. Comics were the goal. I think there's a
lot of self loathing people in comics that would love
to be doing something else. I can't wait to get
through these comics so that I can go direct a
(30:38):
film or write it for TV, or yeah, work on
a novel or whatever. And I am not that comics
were the end goal for me, to be completely honest,
I am the co showrunner on the Invincible television show.
Right now, it is a necessary evil. It is a
thing that I have to do because I have the opportunity,
(31:00):
and I do love the characters and I do love
working on it. But there is not a minute when
I am working on Invincible where I'm not thinking to myself,
I'd rather just be writing comics right now. And that's
not to say it's not fun and that I don't
enjoy working on it. I do enjoy working on it,
not as much as I do working on comics.
Speaker 2 (31:20):
Yeah, Comics are a pretty magical and unique space, especially when,
like you were saying, in a story like this, you
get to write a paragraph and then somebody like David
gets to interpret and create a whole new life in
a way that we don't often get to see.
Speaker 3 (31:35):
And if you do that in a TV show, you
have to have meetings and you have to describe the paragraph,
and you have to talk to somebody about what you're
going to do with the paragraphs the paragraph, They give
you iterations of the paragraph, and then you have to
have notes, meetings to It's just it's tedious. It's very tedious.
Speaker 2 (31:51):
Comics are a lot more direct David. You talked a
little bit about some of those creators that had, you know,
inspired you andarticularly with this story, like people like Bernie Wright. So,
but going back a little bit further, like do you
remember the first comic book that made you feel really
excited and want to be maybe in that space or
(32:13):
think like, oh, this is something I want to do.
Speaker 4 (32:15):
I want to pissue this the first comic that made
me And there were there were a few. My sister
read comics. I me a year younger, and I used
to steal her books and so I got whatever it
was that she she got. The first one that really
resonated for me and made me a fan of superhero
(32:37):
comics was X Men by John Byrne and Chris Claremont.
It didn't make me want to draw comics, so just
because John Byrne's art with Terry Austin inking it's so
precise and clean and consistent, never occurred to me that
I could do it at all. It just it was
just too far out of reach.
Speaker 3 (32:56):
It was.
Speaker 4 (32:56):
And I told Marx Sevestri this because it was Marx
Vestry art. He drew X Men quite a bit after,
but it was his work on x Men and Wolverine
that made me want to draw comics. He's being inked
by Dan Green. It was a more fluid, looser style,
and it seemed more approachable to me, And I think
(33:20):
I might have offended. I'm saying that because it's I learned.
My lesson the kind of work that he does is
it's not easy at all, but it seemed that way.
It just maybe it's more how my brain worked, and
so that's what really got me drawing, is looking at
that work. It was right around when Image was just starting.
(33:40):
Went to the comic store and I wanted to get
more Wolverine from Ox Vestry, but he was already gone.
He was doing Cybo Force, and so I got Spawn
and young Blood and it was such an exciting time
because I'm an image comics artist at heart.
Speaker 3 (33:59):
That's where I started and it's what I.
Speaker 4 (34:01):
Love the most, and so and I realized this is
what I want to do when I saw that work.
And yeah, it's been that ever since for me.
Speaker 2 (34:11):
And I'm sure, like I think Mark's like one of
the kindest people in comics, and I'm sure that he
also understood like the peel of image at that time
was actually that young, upstart mindset, the looseness, the free
that feeling. It's not it was a it was an energy,
you know. I even remember I was a little little kid,
(34:31):
and I still remember how much that kind of came through.
So I love that that was your way in and
now you know, with back again with this skybound creator
owned in this space. So what is it then like
for you two now to be as people who I
know both did come up as fans obviously Robert, We've
(34:52):
even talked about that before. But what does it feel
like now to be authoring this story that is so different,
that is in this creator own space together, Like what
does that feel like?
Speaker 4 (35:02):
David Well, I do want to point out that I
did not author this at all.
Speaker 2 (35:07):
No, no, sorry, sorry, I mean author in the sense
of like you're both making it together, like not writing.
Sorry sorry, But I.
Speaker 4 (35:14):
Do want to say this is this is Robert's story
one hundred percent. I really don't. I had an influence
in the visuals, and I'm very proud of that and
I'm very grateful that I was able to do that.
But working with a great writer, for me, it's just
(35:34):
always it's a privilege, And so I want the story
to be what it was originally intended to be. And
I just I don't see it as my role to
try and push ideas on a story or try and
push it in directions. I think it's you know, it's
a great story to start, So I do want to
say that.
Speaker 2 (35:55):
You're like, it's a good story. You're like, that's why
I did it. I liked it, and that isn't that
nice to hear of it?
Speaker 3 (36:00):
It's very nice to hear. But I think David is
being you know, his way is to be overly humble.
I mean, I wrote a word document that no one
is ever going to want to look at that that
was my contribution to this project. I'm very proud of
the story, and I think it holds together very well,
and I'm so thrilled with these characters. But there's so
much more to these characters than the words that they
(36:23):
say or the descriptions of what they're doing. And even
you know, having written that, there's so much of this
book that David influenced through drawing the book. And I
was writing it as he was drawing it, because I
was giving him, you know, ten to twenty page chunks
sometimes less. Let's not out me right now, David.
Speaker 2 (36:43):
But David's clearly a collaborator. He is not going to
out you. But if you want to say, what the
short is the Mountains?
Speaker 3 (36:53):
There might have been some three page scripts I don't remember,
but yeah, the story was evolving as he was drawing it,
and I was taking as much inspiration from what he
was drawing to move forward as he was taking from
the scripts to draw it. This book was a true
collaboration in every sense of the word.
Speaker 2 (37:11):
Yeah, I think that comes across. I was, honestly, David.
I've read so much your work, and this still, to
me just felt like I was seeing something entirely new,
the level of intricacy and especially the creature work and
the world and I love Could you talk a little
bit about the color palette? Like, was that Anna Lisa
Leoni's Like? Was that entirely hers? Did you collaborate on it?
(37:35):
Did you touch on it? Because it is such a
unique looking.
Speaker 4 (37:38):
Book, it is, and that is entirely Ana Lisa, That's
all her choices. I had actually no concept in my
head at all about color. Generally, when I'm drawing, I'm
so focused on the black and white work that it
just becomes like the end all and be all, and
I don't think beyond that. Also, working with anybody, I
(38:02):
think that that really knows what they're doing and is
top of their game. I stay out of their way
as much as possible, because I can't do what she
can do it at all. I think me trying to,
you know, stick my nose in there, would just make it,
make it worse.
Speaker 2 (38:17):
So well, but all of them feel me and you
are going to have to become David's cheerleaders for this
book to be Like, David, you're doing a great job,
but you really are a massive part of the book.
Speaker 3 (38:29):
Well, I mean to a certain extent. I just handled
the visuals. It's kind of like, aside from that, how
was the places Lincoln? Yeah, the visuals are a big part,
and he was responsible for far more than just the visuals.
Speaker 2 (38:44):
But but yeah, David, how did it feel then to
see Anna when you cause you say, the black and
white becomes bee all and end all? What does it
feel like for then you to get to see her
reinterpretation of the world when she puts those colors onto it.
Speaker 4 (39:00):
I felt like it really it leveled it up from
you know, illustration to an immersive world and a very original,
immersive world. Just the colors that you brought to it
made it feel different than anything that I've seen. Just
the patterns and the choices she made were so unusual
(39:22):
and so unexpected from me. I did find, you know,
toward the end, I was actually starting to as I
was drawing the pages, imagine what the colors would be.
And even then, you know, we would actually get the
pages back and it would still be a surprise.
Speaker 2 (39:37):
So well, this has been such a long collaboration, and
then you know, we've kind of talked about different parts
of it. So I love letting people in to know
about how a book gets made. And obviously one of
those last and most important parts is the letters. So
could you I love the way Russ chose to letter this.
Could you talk a little bit about Robert about like
(39:57):
those choices. It's very like manga. I feel like it's
when you're putting that last collaborator into the book, Like
why is that so important? Why did the letters matter?
Speaker 3 (40:10):
Russ Wooten letters every book that I write. He's definitely
my go to preferred letter. I think that his real
strength is that he can tailor his work to every
single book. So if you look at his body of work,
his body of work is somewhat similar to mine in
that when you look at a book lettered by Russ Wooten,
(40:31):
you often don't realize it was lettered by Russ Wooten
because it is a completely different and distinct style. I
was picking up a comic recently and I thought to
my I was looking at it, and I thought to myself, ooh,
Russ Wooten getting a run for his money. I got
to find out who this guy is. This is some
really good lettering. And then I went to the credits
and it was Russ Wooten.
Speaker 2 (40:51):
Yeah.
Speaker 3 (40:51):
So I love being able to sit down with him
and kind of talk about the project and kind of
just say, okay, I'm thinking, you know, something like this
for this, and and maybe try this and and and
watch him you know, and we'd go back and forth.
He'll send me some examples of what he's thinking about
doing and some test pages and things, and it is
always a very streamlined I give him a very brief
(41:14):
like this is what I'm thinking, and then he sends
in some kind of option, and nine times out of
ten I go, yep, perfect, great run with it. And Yeah,
we talked about manga and tall balloons because I wanted
the balloons to be as compact as possible and take
up as little space as possible and giving it that
like tall oval feel. I thought that that would look
(41:36):
look the best on the on the work, and and yeah,
I think it's a it's a really great look, and
it has really allowed for some strategic placement to kind
of be kind of tucked away so that it's not
taking up too much space. But it is very readable
and very easy for the eye to follow and does
stand out in the art. And I don't know, it's
(41:56):
it's a. I think it's a really cool piece of work.
And I love able to talk about lettering. A lot
of people don't ask about that stuff.
Speaker 2 (42:02):
So yeah, I've been lucky enough to work with On
my last Godzilla graphic novel, I worked with Jody Troutman,
who was just such an unbelievable letterer and like the
first sample page she ever did, she used my collaborate
all of our owners incredible artists. She used his logo
for Godzilla with one of the kids saying when one
(42:23):
of the kids was saying Godzilla, and I was just
like yes, like I feel like I'm a little kid
reading Superman and seeing that. I think it's really important
because also I think that's a cool space where people
could get into making comics, even if they're not necessarily
artistically minded, Like lettering is a really important job, and
Russ is one of the best. So I think you
guys put together a really special team. And the book
(42:44):
is really exciting if our listeners they're going to be
able to pre order it. Skin Breaking Number one? What
can you tease about this story, Robert? If you're getting
them excited, they know it's this fancy on an alien world.
It's kind of that Swords and Sorcery esque, but it's
also got those fantasy creatures. But what is the longer
(43:07):
story of skin Breaking? And it's going to be gosh.
Speaker 3 (43:11):
I mean, as a tease, I can say that issue
too gives you a better sense of the scope of
the storyline, and I do want that to be somewhat
startling and as you experience it, so I don't want
to tease it too much. But I love that this
is a finite story. It's got a beginning, middle, and
an end. It's not it's not my usual way of
(43:33):
doing comics. I try to do comics that last until
you hate them. That's that's usually my goal. So so
so yeah, it's you know, this is this is something
that I think is going to end pretty spectacularly and
have like a I don't know, a very succinct story
that kind of holds together, which I'm excited about. Uh
(43:53):
But but yeah, there's a lot more brutality and a
lot more heart and emotion. If you like the first issue,
there's going to be some some cool stuff that follows
from that. And I feel like I've done a bad
job of.
Speaker 2 (44:03):
Teasing a great job I think the idea.
Speaker 3 (44:06):
Until somebody makes me stop to try and compensate.
Speaker 2 (44:08):
For the fact that I think that this first issue
has a really interesting and I would say, like quite
wide scope. So I'm very excited about the concept of
seeing that change or shift an issue too. It's not
something I would imagine. David, just before we finish, is
there a page or a panel or a moment that
(44:29):
you're most excited for people to see. You don't have
to describe the whole thing. You can just be like, yes,
maybe coming up here, or is there something about the
art that you're just really excited for people to discover.
Speaker 4 (44:41):
Yeah, you know what there is Actually this is very late.
This might be issue seven or so six, I don't know.
But there's a double page spread of one of the
characters holding up his sword and he's ducking down and
the creature's coming Adam, and the sword cuts through the
(45:02):
creature and the creatures like splitting in half through the sword. Anyway, Yeah, sound,
I mean, these are the pages I had love to
draw and I get excited about and then the book
comes out and I like all the quiet stuff.
Speaker 2 (45:14):
You know, But it's the joy of it's the joy
of comics. We get to do all of it sometimes
in one issue, which is very magical. But yeah, thank
you guys so much for joining us. Always welcome to
come back. Love to talk comics with you guys, and yeah,
congrats on skin Breaker. Can't wait to read.
Speaker 3 (45:33):
More than Thank you so much. It's a lot of fun.
That's it for news.
Speaker 1 (45:38):
Thanks for listening.
Speaker 2 (45:39):
Bye.
Speaker 1 (45:46):
X ray Vision is hosted by Jason Ceps Young and
Rosie Night and is a production of iHeart Podcast.
Speaker 2 (45:51):
Our executive producers are Joel Monique and Aaron Korfman.
Speaker 1 (45:54):
Our supervising producer is Abusa part.
Speaker 2 (45:57):
Our producers are Common, Laurent Jonathan and Bay Wack.
Speaker 1 (46:01):
A theme song is by Brian Vasquez, with alternate theme
songs by Aaron Kaufman.
Speaker 2 (46:05):
Special thanks to Soul Rubin, Chris Lord, Kenny Goodman and
Heidi our discord moderator,
Hosts And Creators
Jason Concepcion
Rosie Knight
Popular Podcasts
New Heights with Jason & Travis Kelce
Football’s funniest family duo — Jason Kelce of the Philadelphia Eagles and Travis Kelce of the Kansas City Chiefs — team up to provide next-level access to life in the league as it unfolds. The two brothers and Super Bowl champions drop weekly insights about the weekly slate of games and share their INSIDE perspectives on trending NFL news and sports headlines. They also endlessly rag on each other as brothers do, chat the latest in pop culture and welcome some very popular and well-known friends to chat with them. Check out new episodes every Wednesday. Follow New Heights on the Wondery App, YouTube or wherever you get your podcasts. You can listen to new episodes early and ad-free, and get exclusive content on Wondery+. Join Wondery+ in the Wondery App, Apple Podcasts or Spotify. And join our new membership for a unique fan experience by going to the New Heights YouTube channel now!
Dateline NBC
Current and classic episodes, featuring compelling true-crime mysteries, powerful documentaries and in-depth investigations. Follow now to get the latest episodes of Dateline NBC completely free, or subscribe to Dateline Premium for ad-free listening and exclusive bonus content: DatelinePremium.com
On Purpose with Jay Shetty
I’m Jay Shetty host of On Purpose the worlds #1 Mental Health podcast and I’m so grateful you found us. I started this podcast 5 years ago to invite you into conversations and workshops that are designed to help make you happier, healthier and more healed. I believe that when you (yes you) feel seen, heard and understood you’re able to deal with relationship struggles, work challenges and life’s ups and downs with more ease and grace. I interview experts, celebrities, thought leaders and athletes so that we can grow our mindset, build better habits and uncover a side of them we’ve never seen before. New episodes every Monday and Friday. Your support means the world to me and I don’t take it for granted — click the follow button and leave a review to help us spread the love with On Purpose. I can’t wait for you to listen to your first or 500th episode!