While many early offerings from Image Comics were deliberately designed to appeal to their popular artists’ existing fanbases, Erik Larsen took a different approach, reviving a character he created at his kitchen table while making homemade comics with his friends as a child. And 32 years later, Larsen still stands apart from his compatriots as the only Image founder still regularly writing and drawing his original creation: The Savage Dragon. In this episode, we talk about Larsen’s influences and early career, how the series marries Bronze Age-style soap-opera subplotting to a distinctly Iron Age attitude and self-awareness, and why sometimes over-the-top violence and superhero silliness can be as true an expression of an artist’s creative freedom as anything else you’ll find in the comic book medium.

Superstar penciler Jim Lee adopted less revolutionary rhetoric than some of his fellow Image founders after leaving Marvel Comics, but he became one of the most successful of the group, growing his WildStorm Productions imprint into a publishing empire. WildC.A.T.s, Lee’s first Image offering from 1992, takes his and co-creator Brandon Choi’s love of spy fiction and channels it into something that would have looked very familiar to fans of Lee’s X-Men. We look at WildC.A.T.s’ expansive cast and ask, “How much mysterious backstory is too much mysterious backstory?” We’ll also look at Lee’s continued career at Image, his brief return to Marvel, and finally on up to today as head honcho of DC Comics.

When Daniel Clowes was writing and drawing vignettes about two cynical teenage girls in his groundbreaking comic anthology Eightball, he wasn’t sure Ghost World would add up to anything in the end, but its balance of bitter ennui and painful self-reflection connected with readers and led to a standalone graphic novel and a 2001 film adaptation. Kicking off our conversation with a discussion of the alternative comics scene, we then struggle to overcome our own inner critics to dig deep into the comic: the zeitgeist of the ‘90s, the vibrant mundanity of its setting, and how our identification with the leads has changed as we’ve aged. Get ready for a very personal look at a very personal book.

With one foot in the world of DuckTales and another in J.R.R. Tolkien’s Middle-Earth, Jeff Smith’s Bone is so confident and assured from its very first issue that it seems to have arrived fully formed, but it was actually the result of years of refinement. Syndicates balked at Smith’s creative vision for a four-panel comic strip version of Bone, but their loss was comic books’ gain, as the series became an indie darling in single issues and eventually blazed a trail for today’s YA graphic novel market. In this episode, we take a look at the first collection—Out from Boneville—learn about Smith’s surprising creative influences, and discuss what made Bone a true “all-ages” comic beloved by kids, librarians, and old-school comics fans alike.

Anything goes on a fifth Wednesday, so in this episode, Justin and Jim look back at a blast from their pasts — Kevin Smith's comics-reference-heavy 1995 movie Mallrats — but arrive at somewhat different assessments about how it plays today. Along the way, they discuss what it meant to name-drop Wolverine in a Hollywood motion picture back in the '90s, the comics-style shared universe Smith's films existed in, the implications of the Stan Lee cameo, Jeremy London and Jason Lee's differing approaches to performing non-naturalistic dialogue, and much more.

BWA-HA-HA! Keith Giffen and J.M. DeMatties may not have originally set out to turn DC’s signature superteam into a workplace sitcom, but with artist Kevin Maguire they produced a screwball series still treasured by fans. With a roster assembled largely out of desperation and a constantly shifting status quo, Justice League International reinterpreted how the superhero would be perceived in a post-Crisis, post-Watchmen comics landscape by leaning into the absurdity instead of making its subject grimmer and grittier.

The story of a faux Justice League who seize control of the United States with the best of intentions only to be undone by the resulting ethical nightmares, Squadron Supreme is sometimes called “Marvel’s Watchmen”: a 12-issue series examining the impact of superheroes on society and deconstructing the genre. But Mark Gruenwald’s magnum opus is a very different work in terms of tone and execution, as Gruenwald embraced the traditional comic book tropes and storytelling devices that Alan Moore and Dave Gibbons deliberately eschewed. We look at Squadron Supreme both in comparison with Watchmen and on its own merits to discuss how best to appreciate this series today.

Our continued deep dive into the comic book that defined the Iron Age begins with a lengthy appreciation of Dave Gibbons’ art and storytelling, then gets into the weeds talking about the novel’s themes, worldbuilding, and its legacy of superhero deconstructionism. We’ll also discuss the ownership dispute over the rights to Watchmen, and the various adaptations, sequels, and prequels that exist today because of that ownership dispute. Unorthodox opinions abound, and your hosts may have to resolve their disagreements with pistols at dawn before it’s all over!

What’s left to say about Alan Moore and Dave Gibbons’ novel Watchmen? Plenty, as it turns out! In our first of two episodes on the subject, we talk about the changes in the larger comics industry that needed to be in place for Watchmen to exist, consider the degree to which the series relies (or doesn’t) on the Charlton Action Heroes for inspiration, and finally do a deep dive on the major characters and what drives them. Jim and Justin may disagree about how well Watchmen holds up today, but several assumptions about this book will be challenged in any event!