[SPEAKER_04]: What is up everybody?
[SPEAKER_04]: Welcome to Comic Book Club on Alex.
[SPEAKER_04]: I'm Pete.
[SPEAKER_04]: And we got a very special episode for you here with a very special guest.
[SPEAKER_04]: She is the writer behind Chachu coming from tiny onion and image comics coming out August 5th, final order cut off July 13th.
[SPEAKER_04]: So once you hear about it, you're gonna wanna get your orders in the next one.
[SPEAKER_04]: Oh, yeah.
[SPEAKER_04]: Ladies and gentlemen, I'm on Velani.
[SPEAKER_04]: I'm on a walk to the park.
[SPEAKER_02]: Welcome.
[SPEAKER_02]: Thank you for having me.
[SPEAKER_02]: I'm a fan of the podcast so I'm a huge fan.
[SPEAKER_04]: Now we're the two-hour.
[SPEAKER_04]: We're a fan of yours.
[SPEAKER_04]: Obviously I think people know you as Ms. Marvel in the MCU, but we've been loving the comics that you've been writing.
[SPEAKER_04]: You've been doing a bunch of Ms. Marvel comics for Marvel.
[SPEAKER_04]: They've all been great.
[SPEAKER_04]: And I see this none.
[SPEAKER_04]: We talked to a lot of folks who come from a Hollywood background and come in at comics, they're, it often feels like I'm putting my name on it and move it along, but you could really feel the passion, the actual thought put into the structure of the comics there, which was really impressive.
[SPEAKER_02]: So much.
[SPEAKER_02]: I had someone like, I think from Iceland or something that I randomly ran into in Toronto and they specifically commented on my comic book writing instead of my Ms. Marvel MC used stuff.
[SPEAKER_02]: They're like, you're pacing was so good and I was like, oh.
[SPEAKER_04]: It's important, and it's really hard to master, but I think, you know, this is we're meeting for the first time, but I think coming through from your interviews, your comic book nerd, you love comic books, right?
[SPEAKER_04]: So I think you were doing a fair about studying before you even got a chance to write this stuff.
[SPEAKER_02]: fair amount.
[SPEAKER_02]: I was also kind of going off of the Quentin Tarantino method of like if you love something well enough like you can't help but do a good job.
[SPEAKER_02]: But I was like truly terrified.
[SPEAKER_02]: I have so much reverence for this medium and for the people who write it and like
[SPEAKER_02]: That's like, oh, I feel like a total fraud.
[SPEAKER_02]: Here, people work their whole career.
[SPEAKER_02]: It's trying to work at Marvel Comics.
[SPEAKER_02]: And this is honestly Marvel Comics was my stepping stone to get into, like, create her own.
[SPEAKER_02]: And so it was, I really wanted to earn it.
[SPEAKER_02]: And I had such a great co-writer, Sopper Pizadad on Ms. Marvel, who.
[SPEAKER_02]: he saw how much I wanted to learn and like really allowed both hands on the steering wheel while he was just like guiding the directions and like being like okay you're you have like 10 different storylines going on right now maybe let's condense it a little bit so yeah it was just a great crash course.
[SPEAKER_04]: Well, you touched on the next thing that I wanted to mention, and just to give a groundwork here.
[SPEAKER_04]: So, Chachu is essentially the story of a la la, the Scarlet back in 1979, who is going out a little bit of a road trip to visit her uncle, her Chachu, who she either hasn't seen in a very long time, or has never seen, I believe, never met, never met, yeah.
[SPEAKER_04]: and it ends up not even ends up from having read the first issue without getting a display there's it's very film noir inflected inspired there's a ton of that going on there right from the opening narration before it starts to get into crime and mystery towards the edges just great.
[SPEAKER_04]: But before we even get into any of that plot of the book itself, why was this the right story?
[SPEAKER_04]: Why was this the transition from this Marvel, which is the natural fit because you played her into your first original solo writing story?
[SPEAKER_02]: Yeah, I think I had an identity crisis after my mum's marble.
[SPEAKER_02]: I was like so intertwined with the character.
[SPEAKER_02]: And I loved that, like Ms. Marble so aligned with my growth.
[SPEAKER_02]: That 18 years old, and she truly was like, you couldn't tell where I ended and she began, you know?
[SPEAKER_02]: But then that happened in my own head.
[SPEAKER_02]: And I was like, oh wait, what else do I like outside of marble?
[SPEAKER_02]: And I think this comic kind of just grew out of this creative
[SPEAKER_02]: I didn't really want to spend my 20s waiting around for Hollywood to dictate when I got to be creative because that would never happen.
[SPEAKER_02]: Yeah, and I was looking back at all the, like, I'm such a senifile and I grew up going at TIFF and, like, I love genre films where I wrote Altman as, like, one of my favorite directors.
[SPEAKER_02]: And the long goodbye, I was just rewatching it.
[SPEAKER_02]: I was like, God, this is like the kind of movie I want to make.
[SPEAKER_02]: This is the kind of movie I want to be a part of, but like, you know, brown people never really got occupied spaces in those genres.
[SPEAKER_02]: And so I was like, oh, maybe I'll scratch that edge for myself.
[SPEAKER_02]: So it started with, like, me just exploring what a Pakistani long goodbye would look like, and then that kind of turned into me realizing.
[SPEAKER_02]: how much I had grown as I turned into, came into my 20s and like how much of my identity was came from being a Marvel fan.
[SPEAKER_02]: I realized that I was truly outsourcing my identity draw all the comic books and movies that I was surrounding myself with.
[SPEAKER_02]: But like,
[SPEAKER_02]: You know, older, you get them more complicated, you get, and my interest is multiplied, and my contradictions multiplied, and I just, or again, more curious about myself.
[SPEAKER_02]: So it comes to a certain point where you have to like stop consuming and start creating, and like, figure out what your own story is, and yeah, because I was like, always the kid who knew exactly who they were, and I was like, I have my identity.
[SPEAKER_02]: but I think comic books movement was just kind of helped give shape.
[SPEAKER_02]: So this, you know, otherwise amorphous thing called your sense of self and so the thesis of this kind of came out of that, that like, you know, identity isn't something that you find once or recover from the past, but like, rather something you collect and expand and create and do it through stories that you write.
[SPEAKER_03]: Wow, that is really, thank you for sharing all of yourself in that answer there.
[SPEAKER_03]: That was pretty cool.
[SPEAKER_03]: I want to kind of talk to the comic nerd for a second here.
[SPEAKER_03]: The book is beautiful.
[SPEAKER_03]: I love the vibe of it.
[SPEAKER_03]: They're just the whole kind of like, that splash page, where it's like a silhouette, but it's also a sunset.
[SPEAKER_03]: Oh my god, I've been playing with it when I saw that.
[SPEAKER_03]: And that's like the clouds.
[SPEAKER_03]: Yeah, like what's it like to have something live in your head?
[SPEAKER_03]: And then you get back the art.
[SPEAKER_03]: I mean, was that just,
[SPEAKER_02]: It is the coolest, I mean, I'm a very visual thinker too, and so as a little game I play with myself, I do all the panel layouts in my journal, and I don't show them to anyone.
[SPEAKER_02]: I just want to see for myself how, you know, the way I visualize it and the way I write it, like how much it matches what my artist ends up handing in to me and like Mariana, who did all the
[SPEAKER_02]: She also came in with the same learning mindset that I had and like she hadn't done anything noir before.
[SPEAKER_02]: So like it just became a really easy partnership and she was so supportive of my vision and trying to extrapolate what I mean out of my scripts because I think I either over explain or don't explain it up but there wasn't a space for her to like experiment to play around.
[SPEAKER_02]: So like for that splash page I like in the script had put it a bunch of like references from
[SPEAKER_02]: like these montaji pages that I really like and I was just like you can do something like this or don't the bribe me she just I was basically just trying to communicate the mood that I was trying to get out of and that was the first pass that she took out and she nailed that stuff like okay that's crazy
[SPEAKER_04]: And this is just for any of the listeners.
[SPEAKER_04]: It's Mariana Ignazi on the Art Museum.
[SPEAKER_04]: It's amazing.
[SPEAKER_04]: You've got Jordi Bill Air on Colors, which is incredible as well.
[SPEAKER_04]: Now, in terms of the style, and maybe this is just to keep on the art for a second, maybe more of a question for Mariana, but it struck me a little bit like halfway between Darwin Cook and what Sean Phillips and Ed Brubaker are doing over in criminal.
[SPEAKER_04]: Did you?
[SPEAKER_04]: Okay.
[SPEAKER_02]: I need a pause.
[SPEAKER_02]: that said to compliment Parker by Darwin Cook was like one of the huge inspiration for the book Marianna actually introduced me to because I told her about the story and when I'm thinking and she's a caviar with Parker and I was like no I haven't shit I and then she sent it to me and I was like yes you should yeah yeah I can't believe I had been missing out um and then Sean Phillips and Edgar Baker and I like just
[SPEAKER_02]: There's truly legends in my mind and I'm so I've been using criminal and like, say it out as big inspirations for this book as well.
[SPEAKER_02]: So the fact that you even brought those two names up, is insane to me.
[SPEAKER_04]: Let's talk about the setting of it a little bit.
[SPEAKER_04]: When it originally said out the press release, they touted it as based on a monfolities life that I read the next part of it.
[SPEAKER_04]: It was like, 1979.
[SPEAKER_04]: I was like,
[SPEAKER_04]: Why that year?
[SPEAKER_04]: Why was 1972 the place to go?
[SPEAKER_02]: I don't know.
[SPEAKER_02]: I think I'm just nostalgic for all the areas that I never lived in.
[SPEAKER_02]: And the 70s specifically, like, there was a period in high school.
[SPEAKER_02]: I felt like I was in the 60s and 70s.
[SPEAKER_02]: I wasn't listening to any music from...
[SPEAKER_02]: You know, the present day, and I'm so, I love Billy Joel.
[SPEAKER_02]: I love Steely Dan and Neil Young, and like, the music kind of became a gateway into like the fashion and the radicalism of the 70s and just that whole aesthetic, and I just, I really wanted to play in that sandbox.
[SPEAKER_04]: Well, and I imagine it also limits things a little bit, right?
[SPEAKER_04]: Like you've got a bit of a road trip book, so it makes it actually have to take through a trip.
[SPEAKER_04]: Nobody's on their phones, scrolling, doom, scrolling, or anything like that.
[SPEAKER_04]: So it lets you concentrate on the conversations between China and Chacha.
[SPEAKER_02]: Yeah, exactly.
[SPEAKER_02]: I, I hate seeing phones in a lot of the mediums.
[SPEAKER_02]: There's such a distraction, but like, I hate that I've digged in a time with phones.
[SPEAKER_02]: I mean, I can't live without my phone, but if I could live in the 70s, and I wouldn't experience racism, I would love that.
[SPEAKER_02]: But yeah, I love fantasy for that reason.
[SPEAKER_02]: Like, this, this book feels like,
[SPEAKER_02]: just my fantasy version of how I came of age and like.
[SPEAKER_02]: Although, this for me happened, but then Marvel and like turning 20, surrounded by my idols, like, talk to you really became that, like, amalgamation of all the adults that I grew close to in that time, like, the divide between, like, grow up and, you know, teenager was just suddenly gone when I started working and a humanized all the adults around me, and so the story came out of that whole coming of age experience as well.
[SPEAKER_04]: I was going to ask about that because obviously the book is not called Leila or from on the 1970s.
[SPEAKER_04]: Nine or anything like that, it's cha-choo.
[SPEAKER_04]: That's the title character.
[SPEAKER_04]: So why was it important to put the focus on him in particular and why this uncle niece relationship?
[SPEAKER_02]: I think, shot you feels like the feeling for formats of the American dream to me, like the private investigators such a fantastic archetype and like, you know, the likes of Humphrey Bokar and Robert Mitchen, who are like bringing these characters to life and they're the epitome of masculinity.
[SPEAKER_02]: But in the 70s, you have neonore and all those, like the detective character still exists, but they've gotten so sad and pathetic, like I think of inherent vice.
[SPEAKER_02]: A lot of the characters in the group-acre stories, Gene Hackman and this movie called Nightmoans, like they're still trying to live up to the legend of the private investigator, but society's like too self-aware now, and like too cynical, so we don't really accept their authority anymore,
[SPEAKER_02]: for Chacha because he's like performing the version of masculinity that he grew up with through like those movies.
[SPEAKER_02]: But then him being South Asian on top of that adds this extra layer of tension because I think like there's a lot of expectation for men and Muslim and South Asian households to like fill those traditional man roles which is like not unlike Hollywood standards.
[SPEAKER_02]: different expectations, but same toxic hypermasculine, portrait of what these men should be.
[SPEAKER_02]: And so he's basically caught between these two overlapping mythologies.
[SPEAKER_02]: One is that the Western noir myth of this lone competent man who understands the world and doesn't take shit from anybody.
[SPEAKER_02]: And in the South Asian familial myth of this
[SPEAKER_02]: and he's failing both performances and you end up with this double amastulation, one that's cinematic and one that's cultural.
[SPEAKER_02]: And so it leaves a very clear gap between man and myth, which is what Layla is seeing right into.
[SPEAKER_02]: And I feel like when I
[SPEAKER_02]: You know, I started working so closely with people who are like twice or three times my age.
[SPEAKER_02]: I was, I had really deified this portion of the adult as these like all-knowing people and then like having them humanized was very drawing for me because I was like, oh my God, they're doing life for the first time like me and it just gave me a lot of peace to age seeing the
[SPEAKER_02]: it's human being because you're really just following scripts as you get older and like you don't want to really see yourself or how you are.
[SPEAKER_03]: Yeah, that's incredibly deep.
[SPEAKER_03]: It's really impressive to hear how thought out this is, this idea at all the different layers.
[SPEAKER_03]: One thing I want to kind of get back to that you mentioned earlier, you know, you say you kind of write and you have you overshare you have so many ideas.
[SPEAKER_03]: One of the things I love about this is we roll in her head.
[SPEAKER_03]: Like we get to hear her thoughts like,
[SPEAKER_03]: As a, you know, writing for a comic, how hard was it because you can only, you know, use so many words, and there is such a great story, but also like, you know, we want to hear so much more about her life, but also heart, holding back information was that tough was it, uh, it was tough, I am, as you can tell, a very wordy person.
[SPEAKER_03]: I don't know, unless you can go to the room for the amazing art, I may think it would be really hard for you.
[SPEAKER_02]: There's been like a few humbling moments where my letters like, I can't fit all this time.
[SPEAKER_02]: I'm sorry, let me take another crack at it.
[SPEAKER_02]: But it truly is such a skill.
[SPEAKER_02]: It's like communicates so much.
[SPEAKER_02]: It's like, you know, you can maybe have three balloons in a panel max.
[SPEAKER_02]: So yeah, that was a fun and difficult challenge for me to just kind of streamline everything that I was actually trying to say but also like that just makes you trust your audience a little bit more because I know like I love it when a comic or a movie gives me space to like think and ask like what is this about what are they really saying and I know that like if I'm like this there must be other people who are like this so just trusting like writing it for the audience of myself and like
[SPEAKER_02]: trusting the intelligence of the audience that they'll understand if I don't give too much you know, context clues or exposition.
[SPEAKER_02]: So yeah, it was tough, but I'm glad you brought up the captions.
[SPEAKER_02]: I really wanted to sound like, you know, the kind of thing that you would say in a fedora and a trench coat.
[SPEAKER_02]: I wanted to emulate that like a hard-boiled poeticism, but you know, she's also an overly self-aware teenage girl journaling about her weird uncle.
[SPEAKER_04]: Well, just to stay on that, I thought it was very interesting how it never, it doesn't evolve into parody.
[SPEAKER_04]: Like, I, I, I come from a sketch comedy background, so I feel like it would be very easy like, hey, see, and that's pretty much what I'm going to do in there.
[SPEAKER_04]: There are moments where the juxtaposition of having her be this young girl talking very seriously in this film, there were a language over very, been all things, particularly in the first half of the book, and
[SPEAKER_04]: There's a great scene where she's just sitting in the car with Chacha and tried to smoke and you're like when is this going to go wrong?
[SPEAKER_04]: Yeah, she's going to start coughing at you second now Which is great so how did you modulate that is I guess what I'm getting at how do you make sure it doesn't devolve into parody at any point?
[SPEAKER_02]: I think I'm a very sincere writer.
[SPEAKER_02]: Like, I even went in real life.
[SPEAKER_02]: Like, I mean, I speak from a soul level and it can be really drawn to some people when I get really deep or something, but I mean it and I think like, I just, I didn't want to do a parody.
[SPEAKER_02]: I didn't want to make fun of her experience and I wanted to take it seriously like because this is so based off of me and I kind of age like,
[SPEAKER_02]: I knew how deeply I felt those feelings and I'm also an avidger and a layer so I have like a lot of my big intense thoughts like cemented in time and all my journals, so those were like actually ended up being really valuable tools and to get it back into like.
[SPEAKER_02]: My 19-year-old mindset.
[SPEAKER_02]: So yeah, it wasn't too difficult for me as long as I didn't get to outside of myself and be like, because that is really silly at the end of the day.
[SPEAKER_02]: You're just writing comic books in your bedroom and like coming up with the police stories and characters.
[SPEAKER_02]: If I start thinking like that, then I'm like, oh, everything that I've written is amateur.
[SPEAKER_02]: No one's going to read those.
[SPEAKER_02]: It's joke.
[SPEAKER_02]: I am not Edgar Baker.
[SPEAKER_02]: Yeah.
[SPEAKER_04]: It's your class.
[SPEAKER_04]: You're doing very well.
[SPEAKER_04]: It's a good comic and I do want to get back to the comic in a second But I did want to ask you just on the topic of like moving your career away from Marvel You have a couple of other projects.
[SPEAKER_04]: You've got mouse.
[SPEAKER_04]: You've got shiver.
[SPEAKER_04]: You've got suffering as optional coming up And just that fit it with this comic in terms of how do you see these projects moving your career forward in a different way as well?
[SPEAKER_02]: Ooh, that's a good question.
[SPEAKER_02]: I think the thing that I was craving after Marvel was just that exploratory phase that a lot of actors get at the beginning of their career.
[SPEAKER_02]: But Ms. Marvel was my first audition.
[SPEAKER_02]: I didn't even get like the audition period to explore what my range is and anything.
[SPEAKER_02]: So all these films that I'm doing are like independent films with like directors who have a very singular vision and like those are the people that I wanna work
[SPEAKER_02]: Know their voice and have something meaningful to say with it and then that we'll just like It's intoxicating to be around as kind of the people because you just want to know that about yourself I'm like, well, what's my voice and what meaningful thing do I have to say about it and so yeah I'm just like so inspired by the people that I'm working with right now and
[SPEAKER_02]: I think it's feeding into my work and how I process my life and through which medium.
[SPEAKER_02]: This is all very experimental for me.
[SPEAKER_02]: I'll be at a very public experiment.
[SPEAKER_02]: But yeah, everyone at Tiny Onion, I was very vocal about the fact that this is my first time writing something by myself.
[SPEAKER_02]: I don't know what I'm doing.
[SPEAKER_02]: I know I want to do it, but this is an education and I need the support.
[SPEAKER_02]: And so they were very gracious at giving me the time and attention that I needed.
[SPEAKER_04]: I'm curious about tiny onion just because I see the round we haven't talked to them specifically yet.
[SPEAKER_04]: But are you working directly with the editor?
[SPEAKER_04]: Do you have James Tyden sort of over your shoulder or give a little tips or what's the process like?
[SPEAKER_02]: That would be terrifying.
[SPEAKER_02]: No, I had the idea for this book, but I didn't know what to take it.
[SPEAKER_02]: And Jerry Dougan, sweet sweet man, he was working on the Fall of X, Fall of the House of X. Yeah.
[SPEAKER_02]: What is that title?
[SPEAKER_04]: Yeah.
[SPEAKER_02]: Fall of X and Fall of X.
[SPEAKER_02]: And I was doing my Miss Marvel run.
[SPEAKER_02]: So he kind of became a great resource for me in terms of, like,
[SPEAKER_02]: Jerry which characters are you killing next?
[SPEAKER_02]: So I make sure to not include them in my book.
[SPEAKER_02]: And then I was telling him about this book and he was like, have you talked to timing onion?
[SPEAKER_02]: No, but I'm a big, something's killing the children fan.
[SPEAKER_02]: Yeah, I literally, the first time I met Jerry in person, he came to Fanna, X-bone Toronto, and I was in an Erica Slotter cosplay.
[SPEAKER_00]: It was perfect.
[SPEAKER_00]: That's amazing.
[SPEAKER_02]: And then I started working with James, but I sent him that photo of me, and the character that he created.
[SPEAKER_02]: It was so cool.
[SPEAKER_02]: But yeah, James James, like, understood exactly what I was trying to do and realize that, like, you know, I wanted something create our own, but the image gives you so much freedom, but I didn't want that much freedom, I needed something in between and my editor Eric Harper and Hoots work with James for a long time, like he's just been.
[SPEAKER_02]: so invaluable and finding my voice and like he just like challenges me but also helps me up and like teaches me and he's very patient and like yeah I'm very lucky to like have that caliber of like creative support as I still find my flooding so yeah I just like wanted people who were willing to like establish an actual relationship not just like faces not even faces names
[SPEAKER_04]: Yeah, this is almost identical to what we're talking about, but with you doing this while other folks are writing this Marvel back at Marvel.
[SPEAKER_04]: Do you feel any ownership over that?
[SPEAKER_04]: And he like, hey, that's my end.
[SPEAKER_04]: What are you doing?
[SPEAKER_02]: No, I tried other pay attention to it.
[SPEAKER_02]: I think that because I'm so judgmental of like, what are you guys doing?
[SPEAKER_02]: So I don't let myself go there.
[SPEAKER_02]: I'm like very honored and privileged that I even got to contribute to the source material at all.
[SPEAKER_02]: I have no idea what they've been doing after that.
[SPEAKER_02]: I know they wanted me to put the MC powers into the second mini that I did.
[SPEAKER_02]: And so my server and I found a fun way to do it where we established so many rules about the powers that they couldn't really be used in the future.
[SPEAKER_02]: Um, I think they've been used.
[SPEAKER_02]: So yeah, they don't know.
[SPEAKER_04]: Sorry.
[SPEAKER_02]: My comics been retconned or what, but they could do whatever they want.
[SPEAKER_04]: Yeah.
[SPEAKER_04]: Uh, and on a related topic, how tired are you of people asking if you're an Avengers doomsday?
[SPEAKER_02]: Uh, I'll, I'll never get tired.
[SPEAKER_02]: Just the fact that people are still asking me that is so cool.
[SPEAKER_02]: Like, I'll let them think whatever they want.
[SPEAKER_02]: I'll be in the theater the same day they will be.
[SPEAKER_04]: Yeah, I mean on that note and I know this isn't really your department, but with Brad Winderbaum getting promoted and he seems to be very open to potentially bring things back.
[SPEAKER_04]: Multi-season series is there any chats of a miss Marvel season 2 is there any discussion or is that just?
[SPEAKER_02]: Oh, I don't know.
[SPEAKER_02]: I know it's not the end of this character, but I don't know what when how aware we'll see her.
[SPEAKER_02]: I think a show might be a little expensive given the powers and all that, but I don't know.
[SPEAKER_02]: I love Brad's.
[SPEAKER_02]: I think he knows what he's doing.
[SPEAKER_04]: But...
[SPEAKER_04]: Can't say what my future is fair enough, very diplomatic to get back to the comic book and to sort of wrap this all back around.
[SPEAKER_04]: Obviously we're still a ways away from the first issue coming out.
[SPEAKER_04]: We're about a month and a half at this point as we're taping this.
[SPEAKER_04]: But you're well of the process or potentially died.
[SPEAKER_04]: I don't know exactly where you are.
[SPEAKER_04]: What what did you learn from this?
[SPEAKER_04]: Like what did you take away from this process?
[SPEAKER_04]: Obviously, it's something you went in to sort of reflect on yourself and look back on yourself.
[SPEAKER_04]: So, what did you take away at the middle or the end, depending on where you are right now?
[SPEAKER_02]: I, so we're still working on issue three right now.
[SPEAKER_02]: So the first two issues are pretty locked in, but it's crazy.
[SPEAKER_02]: Like issue four and five hasn't been touched at all, which means I can like change the script to be whatever I want.
[SPEAKER_02]: And that's part of the reason I like love comics, the flexibility and freedom that you get from this medium is truly.
[SPEAKER_02]: like anything else, especially coming from the movies where one decision has to be approved by like 50 different producers.
[SPEAKER_02]: No one's telling me what to do here.
[SPEAKER_02]: So that part is cool.
[SPEAKER_02]: What have I learned?
[SPEAKER_02]: And I just have so much more appreciation for this medium.
[SPEAKER_02]: I think like I've also been very vocal about this being autobiographical and part of that is because I do want to challenge people's assumptions about what comic books can be.
[SPEAKER_02]: I think for a lot of people they begin an end with superheroes.
[SPEAKER_02]: But like, every other medium, you can tell any kind of story, you know, whether it's memoir, romance, or comedy.
[SPEAKER_02]: And like, we don't want to assume that a film is just for action, or novels are only for fantasy.
[SPEAKER_02]: So, because I know, like, a lot of people of my circles, like, don't read comics.
[SPEAKER_02]: they assume it's just for superheroes and stuff, so I did want to make this book accessible for people like them who are curious about the medium, but like don't really know where to begin, you know, when a book is on issue number 175, like it's really hard to suddenly jump in.
[SPEAKER_02]: So yeah, I think
[SPEAKER_02]: I just I found out how uniquely powerful this medium really is and like they're such an intimacy with it too because it has like you have that intimacy of a novel but then also the visual language of film and so like it asks you to participate as a reader and like fill in those gaps between panels and
[SPEAKER_02]: It's like truly so magical and I think that's why like people who love comics are really intense and nerdy about it because it is like once you understand how cool the medium is and you understand the language of it like you realize how limitless it isn't you just want to tell the whole world about it so yeah we're intense nerds here but it's cool.
[SPEAKER_03]: Well, I didn't have a question.
[SPEAKER_03]: I just wanted to say congratulations.
[SPEAKER_03]: We got to read the first issue ahead of time.
[SPEAKER_03]: And I finished it and I was like, let's fucking go.
[SPEAKER_03]: I want to be in this world.
[SPEAKER_03]: I want to spend more time here.
[SPEAKER_03]: So congratulations.
[SPEAKER_03]: It's a hell of a fantasy.
[SPEAKER_02]: I'm like so terrified to start sharing it with people, even internally.
[SPEAKER_02]: Some like I don't know if Eddie of this is going to translate or if the tone I was going for is reading.
[SPEAKER_02]: So that means a lot.
[SPEAKER_02]: Thank you.
[SPEAKER_04]: Yeah, it's a great thank you and to mention again for anybody listening out there Chachi number one It's coming out from tiny onion and image comics on August 5th final order cut off July 13th So hopefully now that you have heard about it you do want to go over here.
[SPEAKER_04]: Check it out Read right I'm on.
[SPEAKER_04]: Thank you so much for coming on.
[SPEAKER_04]: Yeah pleasure
[SPEAKER_01]: Let's just turn back to number one Let's just turn back to number one Let's just turn back to number one Let's just turn back to number one Let's just turn back to number one
[SPEAKER_01]: They sit on crappy couches, and they let the sick and lick And he's just a monkey, they're like fast, they're so fast So grab your ring, hammer, don't relate, or it hurts, there