Mark Chiarello—"Mark swung his chair around to face me as I entered the room, a look of wild concern on his face. I had Johnny, the Rousseau kid with me, we were looking for lunch. 'Hey, Man!' Mark said, 'Where did my podcast go? I've listened to every episode now three times!' And that's the only reason we brought the podcast back. For Mark."

John Burgin -- I once told John that he looked a bit like Sir Alec Guinness and I think I hurt his feelings 'cause all he knew was old Obi-Wan Kenobi Alec Guinness but I was talking about young Alec Guinness from, like, the 50s when he was in all those hilarious Ealing movies that Nick Cardy made me watch. Take a look. I'm not wrong. Didn't mean to hurt your feelings, Pal.

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The first time I met Cully was when he came to play volleyball with our old Woodstock volleyball gang. He was new and just visiting, so we took it easy on him. But in truth he was crap. I truly believe though, that if he had lived closer, he could have been one of the great ones. Maybe even go professional. But he code to stick with art instead. So we'll never know.

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Ahoy, Gang! Here is a free taste of one of our premiere shows on our Patreon called, "Does This Come In Chromium with host, Matt Anderson! On this episode Matt and special guest co-host Matthew Dow Smith (writer/artist THE OCTOBER GIRL) turn out the lights to find out if the story contained within the pages of 1993's THE SPECTRE #13 shines brighter than its glow-in-the-dark cover. How is it that a comic published in 1993, set in a fictional country, featuring (the always cool) Count Vertigo, and starring a character with god-like powers can feel so relevant and relatable to today? Plus, Matt shares his opinion that the duo of John Ostrander and Tom Mandrake make for one of the greatest collaborations in all of comics (actually, this is not an opinion - it's an undeniable fact), while Matthew shares his true feelings on The Spectre (you'll have to listen to find out what they are). Also, they discuss Matthew's time as artist on the DAY OF JUDGEMENT series (written by Geoff John) and what it was like helping create a brand new Spectre. This is a jam packed episode - so don't miss it! Contact the show: [email protected]

Scott Weinstein—

Scott Weinstein is the writer/creator of the comic book series, After School Agent, and author of the young adult Team of Steve's novels. He is also a producer on a rather popular late night television program. He is a very good driver. I am not.

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Ahoy, Gang!

Here is a leaked episode of our exclusive RAOC Bookclub series available on our Patreon.

Todd is joined by John Pasquini, as they embark on a deep dive of Batman & Robin : Year One by Mark Waid and Chris Samnee.

Darryl Banks—There's a difference between a firm handshake and a hard handshake. One is a gesture of acknowledgement and respect. The other is a cowardly attempt to assert some measure of dominance. Bullies do this. Darryl Banks' handshake is a furtive invitation to a journey of enlightenment and peace. But…will you accept…?

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Ahoy, Trick or Treaters!

We have another bonus episode! This time, Todd sits down with his pal Matt Wieringo to talk horror comics over candy and iced tea!

Click here to become a citizen of RANDOM NATION. It's like Rhythm Nation but different!

Have a happy and safe Halloween!

A few things happen in this episode. First, Doug talks about a few things he witnessed during his first Baltimore Comic Con. Secondly, Todd gives Doug permission to not hold back about the things he saw during his first Baltimore Comic Con. See if you can tell which happened first.

*includes a moment of Randy Newman's "Baltimore"

*Correction. The comic Doug is talking about is "Mermaids Guide To Picking Up Men" by Malone McDonald. Check Malone out here!

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Matt Anderson — I didn't know Matt; he's a friend of Doug's and Doug kept saying, "Ya gotta have Matt on! Ya gotta talk to Matt!" And I'll say it here; Doug was right. I did have to talk with Matt. About Doug. I get it now. Also, Matt wrote the cool comic White Picket Fences about flying saucers landing in 1950s America.

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