Interview with Tim Costa on The Fade Out Vol. 1

Hi, this is Kyle Higgins, and you're listening

to the DeSatch Radio Network. concierge podcast

a podcast where we for comics are for everyone

the key is finding the right one today i am joined

by a very special guest from the first time watchers

tim how's it going man it is going well thanks

for having me uh come on thank you for taking

the time out to to join me on this ever eventful

venture to look behind the curtain. This is actually

the first ever recording episode of The Comics

Concierge, so we are breaking new ground. So

congratulations on this landmark achievement,

I should say. I'm honored and I'm glad of your

guinea pig. Yes. Yes. Yes. I appreciate that

I appreciate that For those that don't know like

I mentioned him is from the first time watch

this podcast podcast I highly recommend I just

I love the concept It's such a simple concept

that makes a lot of sense where you come together

for the most part for the movies you watching

for the first time and give your thoughts and

opinions and it's always fun discussion your

trail of hitches and things of that nature and

I've been on it a few times myself Talk Star

Wars. We've talked classic film. So it's a good

past cast listen to your movie fan and that's

why I brought you on here because you're not

typically a person that reads a lot of comics

and that's where I want to kind of start things

off is just in the medium of comics I know if

you watch comic book films what is your experience

with comics going into this and going into this

little experiment hmm not a lot to be honest

with you very limited I Growing up, I did not

gravitate towards comics or comic books or graphic

novels as a medium. Growing up, it was mostly

just TV and movies. And if I watched any, I'm

sorry, if I read any comics, it may have just

been something that was handed to me, something

that was lying around at a friend's house. I

may have picked it up at a... I don't know, a

bookstore or something, just because there was

nothing else to occupy my time, you know? So

it was very limited. Like one Batman comic, one

Spider -Man comic, like literally one issue,

you know, way back in the day. You know, I vaguely

remember some sort of Batman comic, like a paperback

book, I think it was, and probably was a collection

of issues that were put together into a paperback.

And that was probably when I was like in third

grade and there was like a book fair at the school

or something like that, you know. So it was nothing

that ever grabbed my attention. You know, as

I got older, I think I began to respect the media

more, you know, simply because people I knew

would talk about them and I just wouldn't have,

you know, that background, that experience, you

know, so if anything, maybe it's more recently

within the past several years that I've kind

of shown more, at least have more of a passing

interest in them. You mentioned a lot of superhero

comic. When you think of comics, that tends to

be where your mind goes is the idea of superheroes.

Sure. Yeah, absolutely. And it hasn't been until

recently, you know, when you see a lot more adaptations

in movies of more mature material and then realizing,

wait a minute, there's a bunch of graphic novels

and comics out there that aren't superhero related,

that aren't, you know, that are much more adult

-oriented material. specifically, you know, something

like the one that we're going to talk about today,

but even more so even straddling the fence, you

know, that does have adult material with superhero

or social commentary, you know, like Watchmen

and stuff like that. So, you know, it's just,

you know, like, like I said, you become more

aware of these. Like when the Watchmen movie

comes out, you know, I'm not aware that it's

based off a source material. So when I start

reading about that, I'm like, oh, that was a

graph. That was a comic book. I never heard about

that because I had never because it wasn't a

mainstream Spider -Man, Batman, Superman type

of comic, you know. So so it's just, you know,

I think movies in the movie industry also kind

of helps open your eyes to some other source

material like this, you know. There's I mean,

that's very true and I think there's a lot of

movies people don't even realize are based on

comic something like yeah blue blue the warmest

color is actually based on a comic book or Roche

tradition or history of violence Yeah, yes, you're

fine. It's a lot of those they don't screen comic

books They don't really bring that to the forefront

as much as others, you know There's no you know

logo in front of blue with the word warmest color

letting you know It's a Marvel film or something

like that. It's It tends to just be influenced

by it. But yeah, I agree with you I would very

much in your same boat honestly until like the

last five six and I was always more of a superhero

comic book fan first and I've recently I would

say got into more of the realm of other books

in which which led me to Kind of the recommendation

of the book that I presented to you today and

that's the fadeout by Ed Brudebaker And I wanted

to kind of explain why I recommended this to

you. So before we got into this podcast I sent

Tim Basically a survey to complete and I you

know listening to your podcast knowing your overall

opinions on things I was trying to get something

that I felt like would interest you and Honestly,

the fadeout is typically the first book I recommend

to anyone's a fan of film because it's so much

takes place in the world of Hollywood, especially

classic Hollywood. And Ed Brubaker, right honestly,

is one of my current favorite writers. And if

you've actually, you may have actually experienced

some of his work without even realizing it. For

example, Captain America Winter Soldier is based

upon a story he wrote when he was writing for

Marvel. The comic itself is much different than

the actual film. There is some bare bones that

it resembles, but also he's worked with Westworld,

the HBO series. He's been a head writer in that

as well. He's getting his hands wet in the world

of Hollywood more and more. But I think his bread

and butter, what he's best known for is his crime

books. Fade Out is one of his most recent. He

has Criminal and a few others. You know, I know

you've had some interesting crime based upon

responses and knowing that... You've had some

inkling with superheroes. I wanted to see if

I could provide a book that is out of that realm

that kind of, like you mentioned, show more of

the adult side, more of the more complex storytelling

that exists in that of comic books. And the partnership

of Sean Phillips and Andrew Baker, who wrote

the story, Phillips, the author is. one of the

most popular, one of the most well -respected.

So I feel it's a good introduction. And there's

also nothing else you need to know about this

book going into it. It's not tied to continuity

of anything else. It's just a self -contained

story that you can kind of come in fresh and

not have to worry about it. And so you read the

first four issues of - Correct. Correct. Yeah,

great. Of this, and I provided you the issues

to, I don't know if you - I think this is actually

really good to read in issues because there's

also, which it's not pertaining to the story,

but at the end of each issue, Andrew Baker also

writes a lot of essays on the history of Hollywood

with a lot of great information about just things

that went on during the time that inspired kind

of the story he's telling. But bottom line is,

I was curious, you know, what your overall thoughts

and impressions were regarding the first volume

of The Fadeout. It's funny, you know, we're talking

about You know, my main interest has always been

and continues to be kind of movies and TV. And

that's exactly what I see in this. You know,

I see Hollywood noir that I've seen countless

times. You know, the easiest reference is L .A.

Confidential, especially with the group of characters,

you know, here. Even a little bit of Hail Caesar,

you know. You know, when you think of the studio

chief and the head of security, you know, that

kind of thing, those relationships. So, you know,

it's hard for me to separate those two while

reading this. And continuing on with the stories,

I'm thinking to myself, I don't really see anything

completely original, you know. I see I see a

comic that I think is influenced by Hollywood,

you know, so it's an interesting reversal You

know and it's just it's just always kind of tough

for me to put myself in the headspace of of reading

a comic like this because you know it if I'm

gonna read I'm gonna read a novel and I in To

me, you know You see, reading a novel to me,

I think is more fulfilling and entertaining because,

you know, what's left in these graphic novels,

what's left in the blank spaces in between the

lines is the drawings and the scenery and the

colors. And to me, I think I prefer what's in

my mind while I'm reading and what's being described

to me in a novel than what I'm being shown here.

I'm not trying to specifically say this one in

particular, but other novels and comics I've

read in the past as well. I think it goes for

the whole medium is that I I prefer the imagery

that is created in my mind versus the one that's

drawn in front of me I think it's what I'm trying

to say Yeah, I certainly understand that I get

like It's kind of when you see an adaptation

of a movie of something that you've read and

it typically doesn't live up to what your expectations

are. Certainly that's challenging. And I think

the first four issues of The Fade Out do very

much kind of fall in line with something of that.

It's not necessarily, like you mentioned, breaking

necessarily new ground. I think it does as it

evolves moving forward. Edward Baker is really,

he tends to be a type of writer that likes to

kind of get you settled in the night and let

you be comfortable letting you know where you

think things are gonna go and like, okay, I get

where we're going. And then yeah, that, that's

an interesting thing to me too, is also I'm kind

of like, Also trying to put myself in the headspace.

Okay What if I'm somebody who is into this stuff

and I am gonna read these and and these these

books these volumes You know, this is what chapter

one is what it's called. I guess or part one,

whatever it is is You know 39 pages long, but

the story itself is maybe about 29 to 32 pages

long and and the how much does it cost does it

cost what like six bucks, maybe up to $13 per

to buy? Per to buy? No, an issue costs $2 .99,

$3 .99 depending anywhere around there. Alright,

so I'm also trying to put myself in the headspace

of the person who's gonna purchase this on a

regular basis to continue with the stories and

is the monetary... Output worth the you know,

is the investment worth it? You know for the

entertainment value and this first like you said

You're just getting set into this world, you

know, and it's a very You know, you know bird's

-eye view of who these people are, you know at

first, you know and And I'm just thinking to

myself. I don't know I could spend the same amount

of money renting a movie. I hate to keep comparing

it to a movie, but it's really my only experience.

So I could spend the same amount of money renting

a movie and for two hours get this whole story

that's going to be covered in how many 14 issues

or more of these graphic novels. But when it

comes down to the basis of reading and looking

at the story, like I said, I'm immediately transported

to other... material that I'm familiar with.

But as it continues along into two, three, and

four, it is interesting how he does interweave

all these other characters. And it builds up

on the story and the mystery. And so I do appreciate

the effort put into it. But it's also, I don't

know, once again, from my own perspective of

not being immersed in this medium. I'm also looking

at the structure of the story and how it does

seem to go back and forth in time. There's some

nonlinear aspects of the story that I get kind

of is a bit jarring to me because there's no

clear delineation in those time shifts. And it

was a little bit hard for me to follow at times

in the shifts, especially considering really

there's not much even a change in color palette,

you know, there's a couple of like those, those

cool panels of the, you know, like the misty,

you know, smoke, you know, covering a face or

whatever that, that, you know, has the, the voiceover

panels in on there too. And those are really,

you know, distinctive and different from all

the other, you know, more. sharply drawn panels

as well. So while those did help, I think some

of the other shifts in time were a little bit

more harder to follow. So it took me another

couple of panels to realize, oh, wait a minute,

we're going back to a memory and stuff like that.

So it could probably be just me and my inexperience

with this medium. I could see that because Sean

Phillips is a very... He's a very particular

sensibility when it comes to the way he sets

up his panels. And there is a very distinct way

of reading comics. It's something that I'm still

kind of learning too. And you mentioned like

how a novel you're able to basically form your

own image in your own head and how that sometimes

you can't necessarily replicate that in something

like a comic. I think what I'm learning too as

I'm kind of diving deeper into comics is how

comics relate more in the way they use paneling

far more to that of film, and how similar to

the way a panel is structured is very similar

to the way a director places his camera, or when

it comes to pacing, it's very much impacted by

the way in which someone chooses to use their

panel. Like the basic comic grid is a classic

non -comic grid. image grid where there's nine

pages and then the nine images on the page and

you kind of place your things throughout and

then through time that's really been changing.

Some people still use that classic nine page

grid and sometimes you can see that, really what

Sean Phillips says, he doesn't necessarily use

that a lot. And I think without that, without

kind of that uniformality throughout his pages,

there isn't much, like if you're coming into

this fresh not really reading comics, Lot I could

see why there would be some challenging trying

to understand the flow of the story and how well

I will page Yeah, I will say that the actually

I was gonna say that the paneling structure of

this is it did help me actually I did like it

because it is rather uniform, you know, you're

right. There isn't nine on every single page,

but you know there the Did never had any trouble

following it. I do remember other comics I've

seen in the past where like on one page you would

have like two to three panels You know like two

really large ones and one really small one and

then on the next page There would be maybe nine

and or seven and then they would be all different

sizes. Yeah, so I think others that I've seen

Were much harder to follow because I didn't know

where my eyes should flow to you know I never

had a problem with these of you know, following

a direction, you know. So I don't think there

was really an issue with that. I think it might

have been just the literal storytelling, you

know? So just after this, you know, the four

issues that you've read, do you feel like there

are pieces because of that that you maybe missed

and weren't fully grasping because you were just

trying to understand where you are in the story

that may have impacted your enjoyment? Possibly,

but I don't think that was really it. I don't

think that's what took away from my enjoyment

I think I got used to it as as the volumes went

on but I think it was more so the The the actual

meat and substance within the stories, you know,

and and I don't think that I don't know Maybe

if if each Volume was maybe double the length.

I would have been more Able to get engrossed

in the story, you know, because as I'm turning

the pages I'm like, okay You know, I still don't

have a lot of story or we didn't cover that much

territory in the last You know two to three pages

and I'm looking at the pages go by and thinking

how much there is left and I'm like gosh I you

know They have to do something before You know,

we get to the next volume and I'm like, okay.

Well Now, how do we get to the next volume? I

don't know. I was also, you know, I'm reading

this digitally. I'm reading it on my computer.

So I'm also trying to imagine what is it like

physically holding it, you know, handling it

in my hand, and I'm flipping the pages. And I'm

trying to think, you know, would I feel like

I'm getting the best bang for my buck, you know?

And I'm not sure if I... with this story and

its structure, if I would feel I would be getting

a worthwhile enjoyment for the money that I might

put down if I was invested in this and I wanted

to continue to read it. Because each one ends

on a cliffhanger. you know, on a little note

saying, oh, there's, you know, it says to be

continued and there's more, you know, there's,

you know, the first one ends with him holding

the girl's panties, you know, it was like, oh

my gosh, you know, where's it going to go from

here, you know? Which is, you know, a problem

we all run into. Exactly. But, you know, the

overall cliffhanger nature of it, I guess you

can't get around it with a continuous story of

a multi -volume issue that you need to have a

hook. You need to have people continue to read

it, you know, and have a reason for people to

read it. So you want that person to be like,

oh, I need to know what happens with this. So,

you know, in a way I can't fault them for it,

but to me it feels... It feels kind of cheap,

you know, but once again, I can't it's hard for

me to even separate myself from the reality of

the situation, you know, so but I just wonder

like, am I am I getting the bang for my buck?

Am I getting everything? You know, but I don't

know, you know, I have no point of reference

to just for other materials to say, oh, you know,

maybe somebody else is reading it and saying,

oh, I totally got my Mm -hmm well though so the

the first volume that you read so that the first

word choose the first volume Which is runs around

like like I said it's like $2 .99 for an actual

issue cheaper if you have a subscription and

for an entire volume it's actually $10 is usually

the going rate for a volume for when it comes

to image and that's what kind of goes into like

the industry aspect of comics and you mentioned

like the fingers of each episode and of each

issue in a way that's something it's funny that

you mentioned that because I think a lot of comic

book readers when comics don't have that and

don't have that cliffhanger you tend to get the

other end where a lot of comic readers tend to

be upset about that because they want that cliffhanger

at the end of each issue it's kind of expected

in a way And none of all Edward Baker's stuff

does that, to be honest. Right now his series

that he's doing, Kill or Be Killed, which is

much different than this. It doesn't necessarily

have that for the most part. It's there on occasion.

It's similar to like you would for most television

shows where most television shows tend to end

on a point in which kind of makes you want to

go on to the next one. The other benefit. Just

the pay aspect is, there's a service called Comicology

Unlimited, which this is free for, for the first

two volumes. So then you don't even have to worry

about the aspect of the payment version of it.

It's like a Netflix subscription for comics,

basically. And they have a variety, a different

one, from Image, Marvel, no DC though, weirdly

enough. And you mentioned the thing of the physical

aspect of it too, which is I think it's a huge

debate in the world of comics when it comes to

Reading them because there's a lot of people

who like I have a lot of friends who would not

read digital comics it has to be the physical

form of it because they they like holding the

comic there's also like an odd smell the comic

and I think in truth, it's a different experience

to in the way you view the art because how art

looks like on the computer screen obviously looks

very much different on the printed page when

you have something that's gone through printing

press and what that looks like and It's it's

I think a lot of comic book artists are still

struggling with Kind of finding a medium in which

it can work really well in both especially when

it comes to things like the coloring and how

different that is because you know It wasn't

that long ago when it was all just done physically,

you know through it hasn't it didn't move digitally

Coloring until like the last decade or so and

that's there's been a pretty pretty big learning

curve in some of it done really well The I think

John Phillips groups tends to do really good

I don't he doesn't forget who does a coloring

for it but then in itself is very much a art

aspect when it comes to comics because You have

the person who does the pencils the person who

does the inking? afterwards and then the colorist

who Very much can greatly impact the actual comic

itself and the way it looks and feels For sure.

So another concern I would have if I didn't know

upfront, you know, I would need to know upfront

Does this have an end story? Does it have an

actual end? Will everything be resolved by? However

many volumes, you know, they they they put out

or decide to put out so you know if I got invested

in a story like because you know, you know what

I vaguely know about you know most like superhero

comics is it's always a continuing storyline

you know it's like a never -ending thing or it

can always be rebooted or stuff like that you

know so that would hinder my my desire to even

think of getting invested in certain issues of

superhero comics because it really doesn't matter

there there is no endgame you know I would want

to know when something like this is there an

endgame you know what I mean Yeah. For this,

there is an end game. This series is actually

finished. There's been three volumes, 12 issues

total, and it's done. There may be, like, future

installments, but it would be, like, something

when I think of, like, Animated Villain Horror

or something like that, where the next volume

is a different set of characters. It's just with

the same title. And the benefit of... So this

is produced by Image Comics, which is the largest...

independent publisher of comics. You have Marvel,

DC, Image is right there. And they've really

spearheaded the creator own book. So Ed Brubaker,

Sean Phillips, they actually own this title.

And so there's no one like Image can't take this

and reboot it with different writers or use it

how they see fit actually has to be done by Brubaker

unless he let someone else take it over. And

most of his books do typically all have an end

point. Most of them don't go, I think, for the

most part, when it comes to creator owned, don't

go beyond 50 issues or so. I think going into

this, it was already announced at the 12 issue

maxi series, which is kind of the standard length,

a story of this nature, one issue per month for

around a year or so, give or take some breaks

in between. So this, luckily, you don't have

that problem with. Like you mentioned, when it

comes to Marvel ODC, that's a whole other bag

because a lot of those characters are not, they're

not gonna stop making Spider -Man comics. They're

gonna keep trying to make those, but the benefit

of something like this is that you don't have

that problem. It's very much in the hands of

the creator, which is why we're getting, typically,

when you look at the best comics, the awards,

they're typically going to the creator of their

own comics because they have that freedom. They

can pretty much do what they want. There's no

editorial really and They can they just use image

as more of a they kind of partner with them to

produce their comic you had mentioned briefly

the the colors, you know in the Drawings and

whatnot and you know, that's one thing that stuck

out to me is I wasn't that impressed with the

drawing I like the color palette, the colors

that are used overall. I like how there's a constant

shift, essentially, from page to page. There's

one set that has a lot of greens and a little

blue, and the next one, there's purples that

are introduced, and then there's very muted earth

tone, and then it goes into a more warm blue.

You know reds and oranges and yellows and then

shifts again to back to green and blues and I

like that But I don't think that the art style

is That great. I also don't think there's enough

shadow used if you're trying to emulate this

this war era and Get this noir feel. I don't

think there's a lot of enough shadow work in

this, you know Interesting. Yeah, I don't know.

I gotta say like that's something like I adore

Sean Phillips as an artist because I think what

he does better than most when it comes to the

frame of is his storytelling ability and How

his acting when it comes to his characters? So

it's not necessarily I could see what you're

saying It's not a very dark comic per se when

it comes to comes to that But I don't know I

don't know if that's a choice on his part but

it wasn't something that I thought of when I

when I was reading it I felt like it was representation

of kind of the story that he was telling and

I think what's really like I mentioned is where

he has a really good ability to You can see when

you watch when you notice it when you can see

artists who aren't able to do that when it is

demonstrate emotion in the framework of their

characters in a way that's not obvious and there

are some times where it is, but I I don't know

I I get it's not necessarily it's not very Flashy

is not the right word, but it's not necessarily

you're not gonna take a page out of this and

like make it Poster out of it. Oh, no, not at

all. Yeah, but you know The most recent comic

Experience I have is Frank Miller's Dark Knight

Series and I read that a couple years ago and

you know, there's a lot of course There's a lot

that stands out about that, you know from the

story the storytelling Well, I'll even say, you

know, the storytelling, once again, you know,

it's not the strongest point of that thing for

me, probably because of my inexperience with

the medium, but obviously the art style. The

art style is amazing in that. and I probably

had that in my mind, you know, considering it's

the most recent thing that I've read from a couple

years ago. I read it before, you know, Batman

vs. Zuman, just for a little bit of, you know,

backstory, you know, but I really dug the art

style and the use of shadow in that, you know,

and it's necessary for the character of Batman

too, you know, consider, but I just thought that

I think maybe shadow could have been utilized

a little bit more in this, considering some of

the mood that Uh, they're trying to evoke in

this, you know It makes sense. It makes sense.

Yeah I mean that's tough when you're trying to

follow up the dark night when it comes to I know

it's probably not the fairest one thing I would

to skip ahead but if you're looking for something

that's very similar that is In the realm of crime

that is very different. I mean you probably i'm

guessing you you've seen this in city film I

would assume The downside of what I tend to not

want to recommend since you do the comic is because

if you've watched the movie you've read the comic

because it legitimately is page for page just

on the screen so it's like you're not necessarily

getting that much out of it it's just it's like

it's like reading the novel version of a movie

you've already watched pretty much so it's worth

it because the art is Frank Miller when he was

Frank Miller and not what he is now It was a

genius in when it comes to that no doubt and

I think he's on one end where say something like

John Phillips is on a very different end when

it comes to the way he He does his comics where

it's it is it it does not have that Get out and

grab you type of look to it. It's very mundane

and so I could see why it would not necessarily

be as impressive as something of the nature of

a Dark Knight or other major comics. Anything

else you wanted to talk about regarding comic?

Anything else that you did enjoy that you didn't

talk about or anything else that you had questions

about? I don't know if I had any questions about

anything. You know, I just think I... I did appreciate

the growing cast as it went along, you know,

similar to maybe like a TV series, you know,

you get more invested in some of the characters,

you get involved in other aspects of other people's

lives, you know, and you get a little bit more

as it goes along. So getting more invested in

this world and these people is certainly interesting.

It's funny, there's even in the second issue,

the idea of don't get any flame near the nitrate

of the film. And it's just like, it's something

like, oh yeah, I saw that in Quentin Tarantino's

and Gloria's Bastards. But even then, Tarantino's

riffing on stuff there as well. So who knows

where he got that from? But it's just so many

things that remind me of... of movies i'm even

kind of looking at the characters and their drawings

i'm like oh who who would play this guy or who

would play this girl you know if they ever adapted

it you know yeah yeah or in at times where you

legitimately have actual actors show up like

car game car cable and stuff like that right

exactly yeah that's that's so that kind of takes

me out of it to be honest with you i understand

it's in this real world but when you Literally

bring in Cart Gable and he's drawn exactly It's

almost like uncanny valley because they're trying

to draw him like he really is but all these other

people are so much more expressive and and drawn

in such such great mannerisms at certain times,

you know, like like when they have this argument

in the cemetery the His friend, you know who

was blacklisted, you know, there's a lot of great,

you know expressions there Uh on the faces, but

you know when you bring in clark gable, it's

very It feels so flat, you know I could see it's

funny because it's like you see it a lot too

anytime like uh marvel right now has a star wars

comics and That problem happens so much because

they try to replicate actual like harrison ford

and uh, you know mark hamill and stuff like that

and it looks You do have that very uh, it's flat

impression where it like you're looking at something

that just looks wrong. So I could understand

how that would impact your overall enjoyment.

So I think on my end, what I maybe made a mistake

is that when it comes to recommendation is maybe

not necessarily going something that you would

be able to directly relate to something you're

already well known, but maybe something that

is a little bit more off the wall, a little bit.

That is kind of a more brand new experience.

But so looking at possible other recommendations,

if you had any interest in comics, something

that you might enjoy. So one thing that comes

to mind that is a self -contained story altogether.

So it's an original graphic novel that came out

all at once recently this year is my favorite

thing is Monsters, currently available on, like

I mentioned, Comixology Unlimited. And honestly,

probably best bet going to the library because

it's a huge book. It's rather expensive. I don't

think you would read that necessarily related

to anything per se, but the person who wrote

it is basically telling the story of a young

girl who grew up in Chicago in the 1960s but

also has this level fare with monster movies

and monsters and she also she draws the girl

like with as a monster and like it kind of goes

through her viewpoint and how she sees life and

How impacts the way she sees see things and it's

unlike anything I've honestly I've read this

year It's it's probably going to be you know,

we're getting the Eisner award early some nomination

which is the kind of the Oscars of the Comics

medium there really isn't necessarily a panel

per se. It's it's the way the layout is very

different. It's maybe challenging because sometimes

I found it hard to follow in the sense of where

you go, but I also found it endlessly fascinating

and I think that is something where you would

be blown away by the art because it's... I was

also trying to get something that would kind

of correlate to your love of Geostorm, but I

think I couldn't really find anything per se

that would live up to the hype of that. Nothing

could ever live up to the hype of Geostorm. I

wasn't even going to try. I wasn't even going

to go down that route. If this doesn't do it

for you when it comes to the crime element, I

would steer away from that. There are other other

image books out there that you may enjoy like

Deadly Class, which we're actually making a TV

show of very soon. That is kind of this Kid Assassin

thing that's just it's very different in the

sense of the takes place in the 80s. Art's really

unique very has kind of a like very 1980s grungy

feel to it like very uh punk of period uh in

the way that it's replicated but uh I do want

to again thank you for taking the time to read

because I know when it comes to comics it's hard

to find a time to do it I know you have a lot

of movies you have to watch and other things

you need to take care of so no I mean I mean

honestly I had a good time I'm glad that you

know you introduced this to me you know I think

your your concept here is great and I was happy

to do it. I found it interesting and for the

four issues that you gave me here, I read them

all at once and it took me maybe 40 minutes to

go through and I didn't feel like a waste of

my time. Please don't feel like that because

I legitimately did enjoy the experience. I also

wonder if it's something that I would continue

to do, you know, and it would probably be something

that would have to capture my interest on, you

know, it would probably be... Something that

you know would probably even capture many people's

interest and say oh you have to read this You

know, you have to take a look at this and I'd

be like, okay, you know I it would probably be

more of a recommendation like this like what

you have done Versus me seeking it out. You know

what I mean? So what you're saying is I just

need to have you on again and recommend something

else Absolutely picking picking away. I would

be happy to Well, I definitely again appreciate

it. So Yeah, so that overall is the fade out,

is available on many different platforms. As

mentioned, you can get, I think they're actually

coming out with Deluxe Hardcover that has everything

in one fell swoop, but that's pretty much it

for today. So Tim, do you wanna go, I know we

talked about your podcast beforehand, but if

people wanted to learn, hear more from you or

listen to your podcast, where could they do that?

Uh, you can find everything you know, uh, at

patreon .com slash first time watchers. Uh, you

can follow us on Twitter at one ST time watchers.

Uh, always, uh, have a pin tweet there. The latest

episode. Uh, I mean, we're approaching 300 episodes.

So, I mean, there's tons to choose from. Uh,

if you dare, you know, if you want to hear the

three of us, uh, you know, stumble about or thoughts

on a particular movie or whatever, but, uh, Yeah,

no, it's uh, it's a good time anybody wants to

listen, uh, let us know what you think Yeah,

definitely and like I said, uh, I i've been put

on i am a regular listener and you guys have

recommended i've been able to uh Listen to or

watch a lot of films for the first time because

i've of listening to your podcast and hearing

hearing good things I think I may even dive deep

into geostorm when it hits hits home media. Um,

I miss it so unfortunately Yeah, I know, I know.

It's something I, you know, it's going to be

one of my big regrets in life. But maybe I'll

get a second run. You never know. You never know.

It's Oscar, right? That's right. Exactly. Well,

thank you for listening to the first ever. episode

of the Comic Concierge Podcast as we begin this

fun experiment. We have a lot of fun episodes

in store, including an episode with GCRN's own

Kevin Thompson, as well as an episode with JD

from In Session Film, and some other things that

are in the works. So, a lot to look forward to,

a lot of comics to talk about. Thank you for

listening, and we'll see you next time.