"We're Back!" V. 3, Ep. 7

So, it took a while. It took some planning and some soul searching. It took some realization that doing this podcast was something that we enjoyed doing, as long as we were doing it the way we wanted to do it. So, we're back. Perhaps a bit leaner and meaner, but back nonetheless.

This podcast covers the Brooklyn Comics and Graphics Festival that took place back in December, specifically the LYNDA BARRY AND CHARLES BURNS IN CONVERSATION program.

Kurt and I are planning on doing at least 3 podcasts a month, more if time allows, and we're pretty psyched with some of the things we have planned.

Enjoy the recording, and as always comments are welcome via email here: Write.Club1@gmail.com, Twitter here @Write_Club, or in the comments section on this post.

New York Comic Con Mini-Cast: Day 1

Day 1:

This is a short one folks! Kurt, Tim and later Phil, take a walk through the con and are struck with a volley of emotions. The British are killed, and Tim & Kurt ask "What's it all about?"

Luckily they're saved by a girl named Gabby.

Intro: "Four Colored Universe" Metasciences

Outro: "Write Club Theme" Scott St. Pierre

New York Comic Con Mini-Cast: Day 2

Day 2:

Tim is joined by Pete Lenz, who is having fun. Then Tim tries to find the screaming women, and when that doesn't pan out Pete, Tim and Phil head down to the basement to check out Anime Fest. Apples are eaten, smiles are shared, and perhaps the oddest interview I've ever done takes place.

Seeing as how this is a major comic event, I thought I'd check out Marvel's Cup O' Joe panel. That kicks in at about 7 minutes, and therein you'll hear about some of Marvel Comics upcoming plans. This, of course, was a slide show, so you will not be able to see what they're talking about. Here are some bullet points:

• Marvel to publish at least two CrossGen titles. From the images it looks like they'll be SIGIL and RUSE (penned by Mark Waid).

• Brian Bendis and Michael Oeming will be putting out a creator owned, all-ages book named TAKIO.

• Brian Bendis and Alex Maleev team up to reinvent MOON KNIGHT.
• Marvel + ESPN? I don't know either.
• A teaser of a web-series about Marvel editor Steve Wacker auditioning for the Broadway play based on SPIDER-MAN. I think it's called SPIDER-MAN: WTF am I doing on Broadway? (JOKES!)

Intro: "Kingdom Come" Jay-Z

Outro: "Write Club Theme" Scott St. Pierre

New York Comic Con Mini-Cast: Day 3

Day 3:

LAST DAY OF COMIC CON NY 2010! We start this off with Phil Gelatt, and you can tell that the con has taken its toll on this strong, strong man. We then chat with Nikki Cook about her upcoming book, MEMOIR, written by Ben McCool.

After that we catch up with Reilly Brown to discuss his con sketches and his new ALPHA FLIGHT project. And, finally, Rick Lacy appears on the scene to detail his plans to take his life down to zero, and then build it back up to 11.

If you understand the plan, please let me know.

We end with a haunting scene at the AnimeFest. In my mind, I'm still there.

Intro: "I Am the Law" Anthrax

Outro: "Write Club Theme" Scott St. Pierre

Dark Night of the Soul: New York ComicCon 2010 Edition!

This year’s New York Comic Con was a time of rough re-evaluation of our lives as creators. Those of us who straddle the line between full blown “made it” comickers and sideline, plugging-your-goods in every conversation aspirants, seem to have hit upon existential hard times at this most recent nerd-fest. While the convention hall was packed, seemingly despite the current recession, many of the writers and artists that I’m acquainted with didn’t sell as many books or sketches as they had hoped they would. Many shared booth space at two or three different booths, and everyone I spoke with—showing good common sense—waited until the last day, day of deals, to purchase anything.

Kurt and I, while wandering the hall at the very start of the con, felt a certain air of un-fulfillment with the rampant flood of imagination and commercialism that flowed around us. We’re two writers who have had mini-successes with doing that thing that we love to do: He with writing and self-publishing his almost finished original graphic novel THE LEGEND OF LIQUID FURY and his upcoming Comixology web-series; and me with the work I’ve done for Dark Horse comics, and Sterling’s ALL-ACTION CLASSICS series, and while we’re both extremely proud of our work, we can’t help but feel a certain sense of longing for more exposure.

That longing is a large part of the reason that this website, and the Write Club Podcast was born. So that we would have a forum with which to discuss our works and our opinions on work currently out there. The comic industry is so small that all one needs to do is to attend a handful of meet-up events, in-store signing, or drinks nights and chances are you’ve been in the presence of a majority of up-and-comers and likely two or three mainstream professionals, not to mention a slew of editors and other behind-the-scenes people, but just having face time isn’t enough. One must be producing work in order to really meet on common ground. One will, more than likely, be producing work just to appease oneself, because the comic industry, as previously mentioned, is a small one. In other words, you may labor for years on a project that is as much a part of you as your own heart, but still never gain mainstream recognition. The two big companies (Marvel & DC) are pretty much the only game in town, and they tend to hire from within, and further, hedge their bets by employing only known and published talent. Therefore, the best way to get published is to already be published, and while this may seem inherently unfair and counter intuitive, it is a system that works for them, and works well. Consider how many years a writer stays loyal to the company of their choice. It stands to reason that if you’re a good writer, and you’re offered the chance to write for the Big 2, and you continue to be a good writer, you’ve got a job for life.

Anyway, this is what weighed on our particular minds. You may be feeling the same, or you may be feeling the opposite or something in-between, but chances are this recent NYCC left an impression on you that previous cons have not. If it did, or did not, I’d love to hear how your con experience played out.

Write Club! "MOOREatorium" V. 3, Ep. 4

The big brains behind Write Club tackle the life, work, and reputation of outspoken and ofttimes problematic comic legend Alan Moore. If you haven't listened to the previous episode, where Tim Mucci interviews Moore, you may want to do so; it does come up and you will be tested.

Kurt Christenson, Phil Gelatt, and Tim Mucci discuss Alan Moore.

Intro: "Oh Somba!" Electrelane
Outro: "Write Club Theme" Scott St. Pierre

What do you think of Moore? Let us know in the comments!

Write Club! "Alan Moore!" V. 3, Ep. 3

This is what happens when the theme of the next issue of Slice Magazine is Villains: You get a crazy idea in your head that just won't leave. At the last Slice Magazine editorial meeting I was asked if I wanted to contribute an interview for their upcoming Villains issue, issue 7. I'm pretty sure they asked me because A) I'm into comics B) I'm into comics C) Most, if not all of my friends are either into comics also, or work in the comic industry.

As soon as they announced the theme I immediately knew who I wanted to interview. I wanted to talk with Alan Moore. I tried to get such a crazy idea out of my head, I mean...Alan Moore? Me? How could that happen?? Suffice it to say, I couldn't get the idea out of my head. I had a great spin on the interview, I'm a tremendous fan of Moore's work, and here was the perfect reason to try and contact him. So I set to work. Moore doesn't have an agent, he doesn't have any official representation, so I just sent out an email to pretty much every publisher he'd ever worked with. Blanketed the field, and heard nothing back.

Until. Until some nice folks at Avatar emailed me and told me that they'd forwarded my request to Top Shelf comics, which is his main publisher here in the US. Not long after, Chris Staros over at Top Shelf emailed me back to let me know that he'd contacted Alan with my request, and that I should be hearing something soon. Let me pause for a moment here to say how awesome Chris Staros is, because he is. In all of my communications with him he's been nothing but friendly, and professional. A true gentleman. Eventually I was contacted by Mr. Moore's assistant editor at his magazine Dodgem Logic, Joe Brown, and Mr. Brown said that Alan would love to speak with me. He gave me a time and a date. I threw up. Well, almost, because I had about a week to prep.

Background: One of the first comics I can remember reading (and understanding) was Swamp Thing #40, which was about this woman who was a werewolf. The central idea was that werewolves and women both cycle with the moon, and it was horrifying, and sad, and human, and amazing. And written by Alan Moore. Alan Moore is pretty much responsible for my comic book obsession.

So, I had a week to prep to talk to one of the most influential figures in my life.

Here is the result. Write Club and Slice Magazine presents Alan Moore:

Write Club! "Digital Dilemma" V. 3, Ep. 2

Tim and Rick Lacy settle down to have a nice chat about Digital Comics, prompted by DC Comics boldly throwing their cowl into the new-media millennia. Tim & Rick are soon joined by the original digital barbarian himself, Phil Gelatt, and then things get interesting.

Digital comics, Independent film, Marvel Short movies, D&D with pornstars, and playing games in the world of H.P. Lovecraft. Nothing's off the table for Write Club!



Intro: "Chin Music" Future of the Left
Outro: "Write Club Theme" Scott St. Pierre

David Mamet's Tips on Writing

I found this floating around the internet; it seems to have quietly made the rounds back in March, but I just found it now and it contains a lot of wisdom from an amazing writer. This was a memo sent from David Mamet to the writers of the, now-cancelled, CBS show The Unit. I guess they either didn't pay attention to his advice, or the TV watchers of America aren't used to well-written TV-shows. Regardless, read it, and figure it out for yourself:

“TO THE WRITERS OF THE UNIT

GREETINGS.

AS WE LEARN HOW TO WRITE THIS SHOW, A RECURRING PROBLEM BECOMES CLEAR.

THE PROBLEM IS THIS: TO DIFFERENTIATE BETWEEN DRAMA AND NON-DRAMA.LET ME BREAK-IT-DOWN-NOW.

EVERYONE IN CREATION IS SCREAMING AT US TO MAKE THE SHOW CLEAR. WE ARE TASKED WITH, IT SEEMS, CRAMMING A SHITLOAD OF INFORMATION INTO ALITTLE BIT OF TIME.

OUR FRIENDS. THE PENGUINS, THINK THAT WE, THEREFORE, ARE EMPLOYED TOCOMMUNICATE INFORMATION — AND, SO, AT TIMES, IT SEEMS TO US.

BUT NOTE:THE AUDIENCE WILL NOT TUNE IN TO WATCH INFORMATION. YOU WOULDN’T, I WOULDN’T. NO ONE WOULD OR WILL. THE AUDIENCE WILL ONLY TUNEIN AND STAY TUNED TO WATCH DRAMA.

QUESTION:WHAT IS DRAMA? DRAMA, AGAIN, IS THE QUEST OF THE HERO TOOVERCOME THOSE THINGS WHICH PREVENT HIM FROM ACHIEVING A SPECIFIC,ACUTE GOAL.

SO: WE, THE WRITERS, MUST ASK OURSELVES OF EVERY SCENE THESE THREE QUESTIONS.

1) WHO WANTS WHAT?
2) WHAT HAPPENS IF HER DON’T GET IT?
3) WHY NOW?

THE ANSWERS TO THESE QUESTIONS ARE LITMUS PAPER. APPLY THEM, AND THEIR ANSWER WILL TELL YOU IF THE SCENE IS DRAMATIC OR NOT.

IF THE SCENE IS NOT DRAMATICALLY WRITTEN, IT WILL NOT BE DRAMATICALLY ACTED.

THERE IS NO MAGIC FAIRY DUST WHICH WILL MAKE A BORING, USELESS, REDUNDANT, OR MERELY INFORMATIVE SCENE AFTER IT LEAVES YOUR TYPEWRITER. YOU THE WRITERS, ARE IN CHARGE OF MAKING SURE EVERY SCENEIS DRAMATIC.

THIS MEANS ALL THE “LITTLE” EXPOSITIONAL SCENES OF TWO PEOPLE TALKING ABOUT A THIRD. THIS BUSHWAH (AND WE ALL TEND TO WRITE IT ON THE FIRST DRAFT) IS LESS THAN USELESS, SHOULD IT FINALLY, GOD FORBID, GET FILMED.

IF THE SCENE BORES YOU WHEN YOU READ IT, REST ASSURED IT WILL BORE THE ACTORS, AND WILL, THEN, BORE THE AUDIENCE, AND WE’RE ALL GOING TO BE BACKIN THE BREADLINE.

SOMEONE HAS TO MAKE THE SCENE DRAMATIC. IT IS NOT THE ACTORS JOB (THEACTORS JOB IS TO BE TRUTHFUL). IT IS NOT THE DIRECTORS JOB. HIS OR HER JOB IS TO FILM IT STRAIGHTFORWARDLY AND REMIND THE ACTORS TO TALK FAST. IT ISYOUR JOB.

EVERY SCENE MUST BE DRAMATIC. THAT MEANS: THE MAIN CHARACTER MUST HAVE A SIMPLE, STRAIGHTFORWARD, PRESSING NEED WHICH IMPELS HIM OR HERTO SHOW UP IN THE SCENE.

THIS NEED IS WHY THEY CAME. IT IS WHAT THE SCENE IS ABOUT. THEIR ATTEMPTTO GET THIS NEED MET WILL LEAD, AT THE END OF THE SCENE,TO FAILURE - THISIS HOW THE SCENE IS OVER. IT, THIS FAILURE, WILL, THEN, OF NECESSITY, PROPELUS INTO THE NEXT SCENE.

ALL THESE ATTEMPTS, TAKEN TOGETHER, WILL, OVER THE COURSE OF THE EPISODE, CONSTITUTE THE PLOT.

ANY SCENE, THUS, WHICH DOES NOT BOTH ADVANCE THE PLOT, AND STANDALONE(THAT IS, DRAMATICALLY, BY ITSELF, ON ITS OWN MERITS) IS EITHER SUPERFLUOUS, OR INCORRECTLY WRITTEN.

YES BUT YES BUT YES BUT, YOU SAY: WHAT ABOUT THE NECESSITY OF WRITING INALL THAT “INFORMATION?”

AND I RESPOND “FIGURE IT OUT” ANY DICKHEAD WITH A BLUESUIT CAN BE (AND IS) TAUGHT TO SAY “MAKE IT CLEARER”, AND “I WANT TO KNOW MORE ABOUTHIM”.

WHEN YOU’VE MADE IT SO CLEAR THAT EVEN THIS BLUESUITED PENGUIN ISHAPPY, BOTH YOU AND HE OR SHE WILL BE OUT OF A JOB.

THE JOB OF THE DRAMATIST IS TO MAKE THE AUDIENCE WONDER WHAT HAPPENS NEXT. NOT TO EXPLAIN TO THEM WHAT JUST HAPPENED, OR TO*SUGGEST* TOTHEM WHAT HAPPENS NEXT.

ANY DICKHEAD, AS ABOVE, CAN WRITE, “BUT, JIM, IF WE DON’T ASSASSINATE THE PRIME MINISTER IN THE NEXT SCENE, ALL EUROPE WILL BE ENGULFED IN FLAME”

WE ARE NOT GETTING PAID TO REALIZE THAT THE AUDIENCE NEEDS THIS INFORMATION TO UNDERSTAND THE NEXT SCENE, BUT TO FIGURE OUT HOW TOWRITE THE SCENE BEFORE US SUCH THAT THE AUDIENCE WILL BE INTERESTED INWHAT HAPPENS NEXT.

YES BUT, YES BUT YES BUT YOU REITERATE.

AND I RESPOND FIGURE IT OUT.

HOW DOES ONE STRIKE THE BALANCE BETWEEN WITHHOLDING AND VOUCHSAFING INFORMATION? THAT IS THE ESSENTIAL TASK OF THE DRAMATIST. AND THE ABILITY TO DO THAT IS WHAT SEPARATES YOU FROM THE LESSER SPECIES INTHEIR BLUE SUITS.

FIGURE IT OUT.

START, EVERY TIME, WITH THIS INVIOLABLE RULE: THE SCENE MUST BEDRAMATIC. it must start because the hero HAS A PROBLEM, AND IT MUST CULMINATE WITH THE HERO FINDING HIM OR HERSELF EITHER THWARTED OR EDUCATED THAT ANOTHER WAY EXISTS.

LOOK AT YOUR LOG LINES. ANY LOGLINE READING “BOB AND SUE DISCUSS…” IS NOT DESCRIBING A DRAMATIC SCENE.

PLEASE NOTE THAT OUR OUTLINES ARE, GENERALLY, SPECTACULAR. THE DRAMA FLOWS OUT BETWEEN THE OUTLINE AND THE FIRST DRAFT.

THINK LIKE A FILMMAKER RATHER THAN A FUNCTIONARY, BECAUSE, IN TRUTH,YOU ARE MAKING THE FILM. WHAT YOU WRITE, THEY WILL SHOOT.

HERE ARE THE DANGER SIGNALS. ANY TIME TWO CHARACTERS ARE TALKING ABOUT A THIRD, THE SCENE IS A CROCK OF SHIT.

ANY TIME ANY CHARACTER IS SAYING TO ANOTHER “AS YOU KNOW”, THAT IS, TELLING ANOTHER CHARACTER WHAT YOU, THE WRITER, NEED THE AUDIENCE TOKNOW, THE SCENE IS A CROCK OF SHIT.

DO NOT WRITE A CROCK OF SHIT. WRITE A RIPPING THREE, FOUR, SEVEN MINUTE SCENE WHICH MOVES THE STORY ALONG, AND YOU CAN, VERY SOON, BUY A HOUSEIN BEL AIR AND HIRE SOMEONE TO LIVE THERE FOR YOU.

REMEMBER YOU ARE WRITING FOR A VISUAL MEDIUM. MOST TELEVISION WRITING, OURS INCLUDED, SOUNDS LIKE RADIO. THE CAMERA CAN DO THE EXPLAINING FOR YOU. LET IT. WHAT ARE THE CHARACTERS DOING -*LITERALLY*.WHAT ARE THEY HANDLING, WHAT ARE THEY READING. WHAT ARE THEY WATCHING ON TELEVISION, WHAT ARE THEY SEEING.

IF YOU PRETEND THE CHARACTERS CANT SPEAK, AND WRITE A SILENT MOVIE, YOU WILL BE WRITING GREAT DRAMA.

IF YOU DEPRIVE YOURSELF OF THE CRUTCH OF NARRATION, EXPOSITION,INDEED,OF SPEECH. YOU WILL BE FORGED TO WORK IN A NEW MEDIUM - TELLING THE STORY IN PICTURES (ALSO KNOWN AS SCREENWRITING)

THIS IS A NEW SKILL. NO ONE DOES IT NATURALLY. YOU CAN TRAIN YOURSELVESTO DO IT, BUT YOU NEED TO START.

I CLOSE WITH THE ONE THOUGHT: LOOK AT THE SCENE AND ASK YOURSELF “IS ITDRAMATIC? IS IT ESSENTIAL? DOES IT ADVANCE THE PLOT?

ANSWER TRUTHFULLY.

IF THE ANSWER IS “NO” WRITE IT AGAIN OR THROW IT OUT. IF YOU’VE GOT ANY QUESTIONS, CALL ME UP.

LOVE, DAVE MAMET
SANTA MONICA 19 OCTO 05

(IT IS NOT YOUR RESPONSIBILITY TO KNOW THE ANSWERS, BUT IT IS YOUR, AND MY, RESPONSIBILITY TO KNOW AND TO ASK THE RIGHT Questions OVER AND OVER. UNTIL IT BECOMES SECOND NATURE. I BELIEVE THEY ARE LISTED ABOVE.)”

"Crazy Horses" V. 3, Ep. 1

Tim, Kurt and Rick Lacy start off an all new volume with an original ramble-cast about everything from Iron Man 2 to Frank Frazetta's recent death and everything in-between!

Catch up with the boys of Write Club!



Intro: "Crazy Horses" The Osmonds

Outro: "Write Club Theme" Scott St. Pierre

MoCCA Monday!

Write Club was at this most recent MoCCA Fest--a local comics convention that features emerging creators as they present their newest mini-comics, web comics, graphic novels, animation projects, original artwork, and more--held in the 69th Regiment Armory.

We were fortunate enough to talk to some of the brightest and talented up and comers in comics. First up is Write Club Favorite Nathan Schreiber, Act-I-Vate member and creator of the Xeric Award winning/Eisner Nominated “Power Out.”

Listen as Nathan talks about his book, and his tablemates at the Ray is Dead table.

Also, read our review of "Power Out!"

Next up is the indefatigable Emily Wernet, webcomicker and creator of “Moonlighting.”

Listen to Emily Break it down about her convention experience!

Now we talk with Ray is Dead member Katie Rose. Katie's comics are awesome, and she's from Lawng Island!

Moving on from the Ray is Dead table we spoke with the indestructible Matt Loux, creator of “Salt Water Taffy,” published by Oni Press.

And last up is Write Clubber Lauren Barnett, who provided the awesome banner image for us during last month's Girl's Club event, and is the brilliant creator of Me Likes You comics.

Enjoy!

Write Club Funnies! - Indie Club Conquers All

Write Club! "Left Handed Past!" V. 3, Ep. 0b

WRITE CLUB!

In our transition from one volume to another we get some help from the enviously talented writer Josh Jenkins.

We chat with Josh about his Plan B series, mainstream comics, BBC Comedies, and surgically removing frag from the Earth. And some other stuff, I'm sure...

Understand, you will like it!

Intro: "Protect Ya Neck" Wu-Tang Clan

Outro: "Write Club Theme" Scott St. Pierre

Anomalous is pretty hard to spell

Write Club! "You Heard it Here Second!" V. 3, Ep. 0

Ever been between one place and another? Say, home & abroad? Or a rock & a hard place? Or the real world & the rended veil of shadows? US too! So here we present an episode as we move from Volume 2 to Volume 3: Episode Zero!

Enjoy as we chat with Act-i-Vate co-founder, & Girl Comics artist Nikki Cook!

seriously, it's like the Phantom Zone in here...

Write Club! "Words are the Worst!" Ep. 10, Vol.2

Kurt is back! The two Presidents of Write Club are joined by special guest star Reilly Brown! We recap King Con (months later), kick back and talk about comics, character design, and even philosophy.

ALSO! This is the last episode of Volume 2! Collect them all!

Intro: "New Wu" Raekwon (Feat. Ghostface Killah & Method Man)

Outro: "Write Club Theme" Scott St. Pierre

You're fired Jay!

PS- Your happy funtime links for this ep:
Reilly Brown's DeviantArt Gallery
Gowanus Dredgers Canoe Club
NY Daily News
Ong Bak Trailer
Raging Phoenix Trailer
Kill Bill 2 Deleted Fight
Rick Lacy's Blog
Neal Adams
Continuity Comics
Alan Davis
Bryan Hitch
Art of John Byrne
Brothers Timony: The Nite Owls
Agents of Atlas
Jeff Parker's Interman
Paul Tobin (Dot) Net
Chicken Boy Implores You
The Unwritten
G. Willow Wilson
The Goon

Write Club! "Handsome Criminals" Ep. 9, Vol.2

Kurt takes a powder this episode so Tim and Rick Lacy hold down the fort. The two gentleman-mayors discuss everything from fictional weapons to fictional murders. Is this entire podcast fictional? Tune in to find out!

Intro: "Vengeance" The Protomen

Outro: "Write Club Theme" Scott St. Pierre

Run the Gamut with us!

Have a favorite fictional weapon that we should know about? Drop us a comment, or head over to the Write Club message board at Ten Ton Studios!

Write Club! "King Con Day 2" Pt. 2: Volume 2, Ep. 8

Day two, part two of Write Club at King Con in Brooklyn. All interviews, all the time! Tim & Kurt talk with Nathan Schreiber, Act-i-Vate Comix creator of "Power Out." Nathan and the boys talk motion comics, panel theory, and you'll learn more about women's underwear than you've ever wanted to know.

We also score an interview with Bobby and Peter Timony, that's right the Timony Twins of Zuda Comics fame! We chat with the twins about Zuda and their instant winner "The Night Owls."



Intro: "Polite Dance Song" The Bird and The Bee
Outro: "Write Club Theme" Scott St. Pierre

gussets...yuck!

Write Club! "King Con Day 2" Pt. 1: Volume 2, Ep. 8

Day two of Write Club at King Con in Brooklyn. Tim & Kurt work out some of the recording kinks from the previous day, and land an impromptu interview with local creator Ben Granoff--who gave WC the skinny on his comic book "We Were the Freedom Federation."

The boys also have a chat with Matt Loux, author and illustrator of "Salt Water Taffy," published by Oni Press.

Intro: "Peaches" The Stranglers

Outro: "Write Club Theme" Scott St. Pierre

flaming babies

Write Club! Volume 2, Episode 7: "King Con Day 1" Pt. 2

The second part of Write Club at King Con in Brooklyn. Tim, Kurt and Rick are beginning to crack under pressure.

The boys of table #1 are cold, hungry and in need of a secure bathroom situation. Just as things are at their most bleak, con co-coordinator Mike Zagari shows up to lend some words of wisdom.

Intro: "Bone House" The Dead Weather

Outro: "Write Club Theme" Scott St. Pierre

BK's Temple of Doom

Write Club: Best of Write Club!

Just before our stint at King Con I thought it would be fun to put together a little clip show featuring some of the funny stuff that has escaped our mouths over the months of Write Club. Here's the result. 5 minutes of tomfoolery and comics. Enjoy!

P.S.: Still working on the actual shows we recored at King Con. Should be up before next week.