The Iron Age of Comics

Many artists look back on the work they did at age nineteen and cringe, but Matt Wagner keeps returning to Grendel, expanding and refining his youthful enthusiasms into an exploration of the nature of evil. Today, Grendel is a sprawling multigenerational saga that can be challenging to get into (and it was for one of your hosts), so we start at the beginning with the first link in the chain: a child prodigy who grows up to be the toast of Manhattan society as bestselling author Hunter Rose and master of the East Coast underworld as assassin-turned-crimelord Grendel. We'll examine how the character evolved with Wagner's maturing writing and art, ably assisted by some of the greatest comic book artists the Iron Age had to offer, and try to get to the bottom of “criminal chic” and the allure of the villain in popular fiction.We veer just a bit outside the strict confines of our 15-year Iron Age to read Dark Horse Comics' Grendel Omnibus Vol. 1: Hunter Rose, which contains The Devil by the Deed, the Black, White and Red and Red, White and Black short story collections, Behold the Devil, and other assorted material.Grendel's money is ill-gotten, but we merely ask for donations: patreon.com/ironageofcomics

In our continuing series on the early years of Kyle Rayner, our hero squares off against Fatality, a spacefaring warrior woman who wants to crush the Green Lantern Corps (even though Hal Jordan has mostly done the job already). Kyle also gets a new roommate with a connection to the GL legacy, introduces his girlfriend to his mom, gets trapped in a painting, and deals with a troubled friend who was indirectly responsible for Kyle getting the ring in the first place. Featuring team-ups with Green Arrow Connor Hawke, Superboy Kon-El, Deadman, and Kyle's new JLA teammate J'Onn J'Onzz the Martian Manhunter.Discussed in this episode: Green Lantern #83-94 and Annual #6 (1997), plus crossover issues of Green Arrow and Superboy.Support the pod at patreon.com/ironageofcomics

Some people think Mike Hodges' 1980 Flash Gordon movie is cheesy trash and hate it; others think it's over-the-top hilarious and enjoy it. But some weirdos truly LOVE this exercise in tonal whiplash, and your humble hosts are two such men. We'll talk about the film as an adaptation of both the original Alex Raymond source material and the Buster Crabbe serials, and how it proudly defies Star Wars' revisionist sci-fi aesthetic. But we'll also try to dig underneath the spectacle to expose the genuinely rousing humanistic heroism at this movie's core. Plus: more beloved character actors than you'll know what to do with!Want to hear the rest? Support us at patreon.com/ironageofcomics !

When Marvel let their license to produce Star Wars comics lapse in 1986, Return of the Jedi was three years in the rear-view mirror and it seemed possible there would never be any further installments in the franchise. But Tom Veitch and Cam Kennedy's 1991 miniseries Dark Empire would begin Dark Horse Comics' 23-year run of Star Wars comics and help launch the Expanded Universe. Set six years after the Battle of Endor, Dark Empire sees Luke Skywalker tempted to the Dark Side by the newly revived Emperor, Han Solo and Leia Organa fleeing bounty hunters, and a new Imperial doomsday weapon threatening the galaxy. We'll look at the long and rocky development of the series, how involved (or not) Lucasfilm was in the story, and how it compares to its prose sister project, Timothy Zahn's Thrawn trilogy. This is the only podcast where you can hear two grown men arguing (politely) about Star Wars!Support the podcast at patreon.com/ironageofcomics

It looks like Kyle Rayner and Donna Troy have broken up. In an effort to avoid both the consequences of his own self-sabotage and improve his approach to being Green Lantern, Kyle decides to go on a cross-country trip to seek advice from Batman, Captain Marvel, and Wonder Woman. He'll also stand with Adam Strange and the Darkstars against Darkseid's secret son and seek his own long-lost father with the help of new Green Arrow Connor Hawke. If that's not enough superhero guest stars, wait till you see who shows up to Hal Jordan's funeral!Discussed in this episode: Green Lantern #71-82 and Annual #5 (1996), plus crossover issues of Green Arrow.

Take The Dirty Dozen, populate with supervillains and obscure DC characters, and plug them into Mission: Impossible-style plots. This is the recipe that John Ostrander and Luke McDonnell used to launch Suicide Squad, a series that takes place in the same mainstream post-Crisis DC Universe inhabited by Superman, Wonder Woman, and Green Lantern, but takes a very different look at the place of superhumans in it, while also casting a suspicious eye on Cold War-era U.S. interventionism. We'll discuss how Ostrander spun this series out of little more than a name recycled from the Silver Age, his working method with McDonnell, and one of this run's most enduring legacies in the DCU: Amanda Waller. WARNING: Does not contain Harley Quinn (despite what some trade paperback covers may suggest). Support the podcast at patreon.com/ironageofcomics

In our continuing series on the Iron Age Green Lantern, twentysomething ‘90s dude Kyle Rayner gets a new girlfriend (Donna Troy, formerly known as Wonder Girl, currently serving as a Darkstar), goes on a space adventure with his teammates in the Titans, meets Iron Age Flash Wally West and former Corpsman John Stewart, and is tempted to make a deal with the (literal) devil. But his biggest challenges will be confronting Major Force (the man who killed his previous girlfriend) and justifying his stewardship of the Green Lantern legacy when Hal Jordan returns and demands the ring back. And if he survives all that…he just might screw things up with Donna.Discussed in this episode: Green Lantern #59-70 and Annual #4 (1995), plus crossover issues of Guy Gardner: Warrior, New Titans, Darkstars, and Damage.

Still bummed that Kraven the Hunter's solo film career failed to launch? We ease the pain with a look at the celebrated 1987 storyline by J.M. DeMatties and Mike Zeck that made the character's reputation in the first place. “Fearful Symmetry” (later known as “Kraven's Last Hunt”) is an unusually dark and generally atypical adventure for Aunt May's favorite nephew, but it speaks to the central appeal of the hero and remains one of the most celebrated Spider-Man stories of all time. We'll look at the genesis of this story as a Wonder Man pitch, DeMatties' love of Russian literature and interest in making Peter Parker's recent marriage add some emotional heft to the proceedings, and Zeck's moody and cinematic storytelling. Plus, don't miss the podcast's first (and probably last) edition of “Poetry Corner”! Support the podcast at patreon.com/ironageofcomics

Beginning an in-depth look at the life and times of Kyle Rayner, a new Green Lantern for a new era! It's 1994, sales on the Green Lantern comic are down, and with anniversary issue #50 on the horizon, DC is looking to revitalize the title. New writer Ron Marz is brought on board with a mission: replace Silver Age stalwart Hal Jordan with a new character (in a new costume designed by incoming regular penciler Darryl Banks). The introduction of freelance-artist-turned-superhero Kyle led to Green Lantern climbing the charts, but it also courted controversy by turning Hal into a megalomaniacal villain and through a scene that would later inspire Gail Simone to create the website “Women in Refrigerators.” Discussed in this episode: Green Lantern #48-58 and #0, plus crossover issues of R.E.B.E.L.S. ‘94 and New Titans

When was the last time you actually sat down to watch Joel Schumacher's Batman & Robin? Jim had never seen it, and Justin hadn't seen it for years and years. Is it worth a second look? (Or in Jim's case, a first?) In this Patreon-exclusive episode available now, we try to keep a cool head about a movie that provoked a lot of vitriol to have a clear-eyed discussion about what works and what doesn't. Want to hear the rest? Support us at patreon.com/ironageofcomics!

It's the 50th regular episode of the podcast, and to celebrate, we're finally doing a deep dive on a comic that helped ushered in the Iron Age and still stands as one of its most enduring accomplishments: Frank Miller's Batman: The Dark Knight (better known in collected form as The Dark Knight Returns), aided and abetted by inker Klaus Janson, colorist Lynn Varley, and letterer John Costanza. But after 39 years of attention from the comics industry and mainstream media alike, is there anything left to say about arguably the most celebrated Batman comic ever published? Rather than try to reduce this landmark comic to a tidy message or thesis about “what it means,” we embrace the glorious messiness of DKR. By examining all the complexities and contradictions of the series, we try to foster an honest and true appreciation of this landmark work. Thanks to everyone who's listened to us over the past two years and 50 episodes. There's a lot more great stuff to come. You can help us out in our endeavors by pledging support at patreon.com/ironageofcomics

It's the final lap of our epic look at every issue of this legendary run! With Linda Park erased from history and Wally West merged with the Speed Force (again), a grimmer and grittier speedster takes over Flash duty. We'll talk about the end of Mark Waid's (and Brian Augustyn's) tenure on the title, the transition to the Geoff Johns era, and the awkward batch of issues in between. Plus, we offer our highlights and lowlights of the entire run and reflect on the big picture: what these hundred-plus issues meant to us and to the development of superhero comics as a whole. Discussed in this episode: Flash #151-163, plus other stories. We couldn't have done this without the support of our backers! Help support us at patreon.com/ironageofcomics !

When Joe Quesada and Jimmy Palmiotti were handed creative control over some of Marvel's B- and C-list characters in 1998, they offered the job of writing Black Panther to Christopher Priest…who didn't want the assignment! But Priest was eventually convinced to take Quesada and Palmiotti's Coming to America-inspired suggestion to bring T'Challa to Brooklyn and turn it into a radical reinvention of the character, years ahead of its time in merging superheroes with international political intrigue. Much of the basis for the MCU's mega-popular take on Black Panther and Wakanda begins in this run, but Priest was convinced it wouldn't work without a white point-of-view character directly inspired by one of TV's Friends. We look at one of the sharpest, funniest, most daring ongoing series of the Iron Age.

Who is Cobalt Blue? Well, we'll tell you, but you might not like the answer! In 1997, Mark Waid and Brian Augustyn took a 12-issue vacation from the ongoing Flash series to recharge their batteries. But during this so-called “hiatus,” they were busy collaborating on a number of stories and even a 96-page hybrid prose/graphic novel that would set up their upcoming “Chain Lightning” storyline, billed as “the ultimate Flash epic.” Fans didn't react well to the shocking retcon that kicked off the story, but we found the resultant time-travel romp to be a bit of an overlooked gem, introducing a thousand years of potentially interesting speedsters to the DC Universe. PLUS! Don't miss the wedding of Wally West and Linda Park (Take One)! Discussed in this episode: The Flash #142-150 and #1,000,000, plus The Life Story of The Flash (1997) and other stories. Support us and get bonus content at patreon.com/ironageofcomics

In 1988's Amazing Spider-Man #300, Venom debuted as a ruthless, psychotic stalker and quickly became Spidey's top villain. Within five years, he was so popular that Marvel semi-rehabilitated him into an antihero with his own series. But by the end of the decade, the character had become overexposed and was removed from active circulation. In the wake of the release of Venom: The Last Dance, we look back at one of the strangest evolutions of the Iron Age and ask the big questions. How did David Michelinie and Todd McFarlane turn a four-year-old completed subplot about a new costume and a newly retconned supporting character into the basis of a franchise? Why did Marvel give Venom a string of consecutive limited series instead of a traditional ongoing? And how are his powers even actually supposed to work? Support the podcast at patreon.com/ironageofcomics

Conspicuous by their absence throughout most of this run, the villains of the Rogues Gallery return to menace the Flash. But Mark Waid (and newly credited co-writer Brian Augustyn) put the main focus back on the dynamic between Wally West and Linda Park, as they argue about how much information to reveal to the public about an impending global disaster, negotiate the Flash's exile from Keystone City to his new home turf of Santa Marta, California, and find their commitment to each other put to the ultimate test when the devil Neron comes looking to make a deal. We'll also examine some side projects looking at Wally's relationship with some of his superhero peers: Dick (Nightwing) Grayson and Kyle (Green Lantern) Rayner.TRIGGER WARNING: Discussion of fictional presidential election. Discussed in this episode: The Flash #119-129, plus Flash/Green Lantern: Faster Friends #1-2, Flash Plus Nightwing (1997), and other stories.Support us on Patreon at patreon.com/ironageofcomics

In a Patreon-exclusive episode available now, we discuss Bernie Wrightson's adaptation of the EC Comics-inspired horror anthology movie Creepshow, directed by George A. Romero from a screenplay by Stephen King. As a Halloween treat, we're offering a taste of the conversation for free here. Want to hear the rest? Support us at patreon.com/ironageofcomics!

At the intersection of Carl Barks and Akira Kurosawa, you'll find Usagi Yojimbo, a longrunning indie comic about a rabbit ronin in 17th-century Japan. Creator Stan Sakai deftly balances somber meditations on honor and often surprising violence with funny animals and gentle humor, drawing on influences ranging from extensive historical research into traditional swordmaking techniques to Audrey Hepburn movies caught on afternoon TV. We dive into a big chunk of this series (already in progress, as it turns out) and discuss how despite its very specific cultural milieu, the universal themes and plots found in the stories (and the appealing nature of the art) makes this comic instantly accessible.

In this episode, we get two epic storylines back to back. First, in “Dead Heat,” the Lightning Brigade faces the evil Savitar, who treats superspeed like a religion and has an army of ninjas to back him up. Next, “Race Against Time” finds Wally West lost in the future while a new Flash protects Keystone City (and makes time with Linda Park). But we're less enthused about these stories than earlier highlights like “The Return of Barry Allen” and “Terminal Velocity.” Was writer Mark Waid starting to be stretched a little too thin as he ascended to the ranks of industry superstar, or are your humble hosts just running out of gas? Or maybe there's just something funny about this Savitar guy… There's a Fifth Week Bonus episode coming in October! Sign up now at patreon.com/ironageofcomics so you won't miss it!

What if every superhero and pulp fiction universe was condensed down into one universe, which was also the Wildstorm Universe? The Planetary team uncovers the secret history of their world and, in the process, performs a metatextual analysis on genre comics. But to what end? With one fan of the series and one hater on board, we debate whether Planetary restores a sense of wonder to superheroes and has anything insightful to say about them, or whether it's just more guys with powers vying for control of the universe while making snarky comments to each other. We'll also gush over John Cassaday and Laura Martin's art, discuss the difference between pastiche and archetypes, and consider how the comics industry evolved over the course of the series' highly delayed run. This episode was recorded before John Cassaday's passing. A brief introduction at the top of the show, recorded more recently, contextualizes how we ultimately decided to release this episode. This episode also discusses allegations about Warren Ellis and the question of whether to revisit his work at all surrounding those allegations. For more information, we recommend reading SoManyOfUs.com.

It's another big everything-changes-forever epic as Mark Waid hits “Terminal Velocity.” The discovery of the Speed Force as the source of superspeed in the DC Universe is transforming Wally West emotionally and physically, and his future with Linda Park is at stake. True love conquers all (sorry for the spoiler), but they won't necessarily live happily ever as they have to pick up the pieces after the fairytale ending. We'll discuss Wally's often-frustrating tendency to keep his loved ones in the dark and debate whether it matters that the villain of the piece is a bit generic. Because comic fans need to rank things, we'll also weigh in on whether “Terminal Velocity” or “The Return of Barry Allen” is the highlight of the run. All this plus Mirror Master and some kind of Lovecraftian monster, too!  Discussed in this episode: Flash #0 and 95-105, plus Flash Annual #8 (1996). Support this podcast at patreon.com/ironageofcomics

It's the part of the run you've been waiting for: Buddy Baker can see you! And Grant Morrison can talk to you, too. We've seen Animal Man establish his superhero cred, straighten out his origin, and become an animal-rights activist. Now, in issues #18-26 closing out Morrison's run, the very nature of his fictional reality is at stake as our hero also deals with the ultimate personal tragedy. In this episode, we interrogate the series' interrogation of “the realistic superhero comic,” think about the limits of cathartic violence in fiction, explore Comic Book Limbo, and ask what the relationship is between the Grant Morrison who appears in issue #26 and the Grant Morrison who wrote issue #26. Strap in for some metatextual pontification (and some laughs as always). Support the podcast at patreon.com/ironageofcomics

Professor Zoom has been defeated, Wally West has regained his top speed and put aside his insecurities about living up to Barry Allen's legacy, and Mark Waid's Flash is now a comic book to watch as 1993 turns into 1994. As rookie penciler Mike Wieringo comes aboard as new regular artist, Waid teams Wally up with Nightwing and Starfire (and his ex-girlfriend), puts the Flash on trial, and hints at the secret source of superspeed. We also meet breakout character Bart Allen, soon to be known as Impulse! We'll guide you through a chunk of issues that may not contain any six-issue epics, but it puts Wally on the path to maturity and makes his relationship with Linda Park into the focus of the series. Discussed in this episode: Flash #80-94 You can support this podcast at patreon.com/ironageofcomics

A small preview of our discussion of Darwyn Cooke's DC: The New Frontier and how you can get the rest by supporting us at patreon.com/ironageofcomics.

Barry Windsor-Smith finally reveals the secret origin of Wolverine! Well…kind of. The biweekly anthology comic Marvel Comics Presents got a shot in the arm when it ran the serialized saga of Weapon X from issues #72-84 in 1991, and although the story has an amusing origin story of its own, it's fairly light on actual details about Logan's past. Instead, BWS wrote, drew, and colored an intensely voyeuristic, occasionally psychedelic, and shockingly violent exploration of man's inhumanity to man. We tell the story of how Weapon X (the serial) came to be and offer our own interpretations and impressions of the story, where its true interests lie, and what we think is actually happening (maybe) in the last few chapters. Support the podcast at patreon.com/ironageofcomics

Our look at Mark Waid's legendary run on The Flash continues! After taking on his first major assignment as a writer, retelling Wally West's origin, and paring down the supporting cast to help focus on Wally's journey to maturity, Waid goes for broke with an epic, life-changing event storyline that today we know as “The Return of Barry Allen.” If Wally's beloved mentor is back from the dead, where does that leave our no-longer fastest man alive? This very cinematic storyarc is perhaps the peak of Waid's run, and along the way, we'll also discuss penciler Greg LaRocque's contributions to these issues, the development of the Wally West-Linda Park romance, and what makes Jay Garrick such a cool guy. Discussed in this episode: Flash #69-79, plus Flash Annual #6 (1994) and Green Lantern #30-31 and 40.

In its original format as a 1988 six-issue prestige/bookshelf format limited series, Bob Harras and Paul Neary's Nick Fury vs. S.H.I.E.L.D. was a blockbuster, drawing readers in with lavish production values and a story that promised to upend everything you knew about the Marvel Universe's premier espionage organization. It was collected in one of the earliest trade paperbacks in the developing bookstore market, launched a new Fury ongoing series, and even (very loosely) inspired the MCU's Captain America: The Winter Soldier. How does a book like this go from a bestseller to a footnote 35 years later? We take a look at this very strange comic, the uncommonly lengthy delays that went into its production, and whether it holds up.

Want to help us get our hands on the comics we read and talk about on the show? You can now support this podcast at patreon.com/ironageofcomics!

Listen to us wherever you get your podcasts, find us on social media where the handle is @ironageofcomics, and support the show at patreon.com/ironageofcomics!

Like Chris Claremont on X-Men or Frank Miller on Daredevil, Mark Waid's work on The Flash was so additive and transformative that later creators can't help but draw from it. Writing or co-writing the book from 1992 to 2000 (minus a one-year hiatus), Waid did around a hundred issues, including annuals and other tie-ins…and we're going to read every single one! Our eight-part look at Waid's run begins with a brief history of the Wally West Flash series that launched in 1987 and focuses on the Year One storyline “Born to Run,” which redefined Wally from an unlikable jerk to the ultimate Flash fan struggling to live up to high expectations. Discussed in this episode: Flash #62-68, plus The Flash Special (1990), Flash Annual #4 (1992), and Flash Annual #5 (1993)

An extra week between episodes takes us off the beaten path of our regular coverage and into a hidden dinosaur kingdom inside the hollow Earth, where Walt Simonson and Lee Weeks pit pulp hero Tarzan against the Predators of film fame in a four-issue Dark Horse Comics limited series from 1996. Along the way, we'll pontificate about the finer points of Edgar Rice Burroughs' often problematic pop culture icon, speculate about the recurring bit of X-Men lore that probably has its roots in Pellucidar, and pitch our own "Predator vs. ______" crossovers.

Fans love to argue about Batman, so why can so many of us agree that Batman: The Animated Series is one of the best interpretations of the character and his world in any medium? We don't think it's just the nostalgia talking! We'll look at a selection of episodes from the first part of the series to illustrate how Bruce Timm, Paul Dini, and the production team inclusively cherry-picked the best of multiple eras and multiple interpretations of Batman to create a show that was sophisticated and dramatic enough for an older audience but exciting and dynamic enough for the younger crowd.  Discussed in this episode: “On Leather Wings,” “Two-Face (Parts I and II),” “Heart of Ice,” “Beware the Gray Ghost,” “Feat of Clay (Parts I and II),” “Joker's Favor,” “Fear of Victory,” and “Appointment in Crime Alley”

Milestone Media's Icon has a pretty punchy elevator pitch: “What if Superman was a Black Republican?” But with stories by Dwayne McDuffie and pencils by M.D. “Doc” Bright (both now sadly no longer with us), this book goes to some interesting and unexpected places. For one thing, this Supermanalogue has a sidekick: a teenage girl named Rocket who is arguably the real protagonist of the book and whose struggles and issues are the most complex and heartfelt that the book explores. We discuss how McDuffie and Bright tackle teen pregnancy in an honest and conscientious way through Rocket and examine racial identity and privilege through the title character, acknowledging there are no easy answers for any of the questions being raised.

Neil Gaiman's complete reinvention of DC's trademark on The Sandman is inarguably one of the most influential comics of the Iron Age…so why haven't we talked about it much yet? And why are we starting with the storyline that's popularly considered “Volume 2” of the series? We're focusing on the collection that introduced The Sandman to the bookshelf market (which originally included the landmark “The Sound of Her Wings” story) and marked an evolution in the comic from a horror reimagining in the vein of Alan Moore's Swamp Thing to a showcase for Gaiman's brand of dark fantasy and his love of the world of stories. We'll also touch on how the series introduced character types not seen in other comics of the time, whether it matters or not that a big part of the story hinges on plotlines from Roy Thomas' Infinity Inc., and how The Sandman went on to give birth to the Vertigo imprint.

We return to our coverage of DC's 1989 Animal Man series—Grant Morrison's first ongoing for the U.S. comics market—with a look at issues #10 through #17 (commonly collected in trade as “Origin of the Species”). Now that we've met Buddy Baker and seen him join the Justice League, we'll follow his investigation into the mysteries of his secret origin (which, as it turns out, no longer fits into post-Crisis continuity). This leads us to discuss Iron Age DC's haphazard approach to its own canon while also wading into more serious territory, as this is the part of the run that most directly and explicitly confronts real-world animal rights and other political issues. These stories force Buddy—and the reader—to consider some difficult problems without easy solutions, but we'll also see how the series' letters page became a forum for lively debate among a community of correspondents searching for answers together.

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!

This fifth Wednesday, the Iron Age boys throw a bit of a curveball by taking a look at an obscure fantasy series from the early 1980s! Designed to serve what was perceived as an untapped audience for Marvel and entice toy manufacturers to create a line of licensed tie-in action figures, The Saga of Crystar, Crystal Warrior throws a few curveballs of its own with a somewhat conceptually abstract central conflict and an antagonist who's more of a victim of circumstance than your standard unambiguous bad guy. We discuss the comic, the toys, and the Marvel Universe guest stars (who never again mentioned their adventures on Crystar's planet)!

Artist Mike Mignola made his first foray into creator-owned work with Hellboy: Seed of Destruction, a 1994 miniseries for Dark Horse's Legend imprint. In time, Mignola would be responsible for every aspect of Hellboy's adventures, turning him and the B.R.P.D into a miniature comic book industry, but for this initial story, Mignola turned to Iron Age stalwart John Byrne to help with the scripting. We'll talk about Mignola and his cohorts in the Legend imprint, the horror and pulp influences that went into this series, and the historical Rasputin before discussing how Hellboy took Hollywood.

When up-and-coming writer Joe Kelly got the keys to Deadpool's first solo series, he subverted fan expectations by downplaying the character's connections to the larger X-franchise. Similarly, he decided to fulfill the constant requests for the Merc with a Mouth to team-up with Spider-Man in a way nobody expected. We take a look at the innovative, Forrest Gump-inspired techniques used to insert a time-traveling Deadpool into a semi-obscure issue of Amazing Spider-Man by Stan Lee and John Romita, Sr. and discuss whether this oversized issue's jokes about Norman Osborn's weird hair and Gwen Stacy hold up today.

Forget whatever you think you know about Hawkman! Tim Truman's 1989 prestige format miniseries Hawkworld drew from inspirations including cop shows, Vietnam War movies, and The Count of Monte Cristo to update the winged warrior's Silver Age origin for a grittier, more grounded era. The result is a science fiction adventure offering a critique of imperialism and class inequality that resonates just as strongly today. We'll also dig into the confusing tangle of Hawkman's post-Crisis continuity, but rest assured that Hawkworld itself won't require you to be an expert in Thanagarian lore before or since.

Riding the wave of comics' “British Invasion” of the 1980s, Grant Morrison made their mark on U.S. superhero comics with the unlikely reinvention of an obscure DC Comics do-gooder. In time, Morrison and penciller Chas Truog would elevate Animal Man's consciousness to a state of awareness about his own fictional nature, but in the early part of their run, the book is mostly concerned with a middle-class family man balancing a passion for animal-rights activism with his attempts to “make it” in the superhero biz. We look at the first nine-issue arc (collected in the first Animal Man trade), an often-overlooked part of this groundbreaking series.

As popular as the X-Men were in the comics industry during the Iron Age, the 1992 Saturday-morning cartoon adaptation found its way into more homes than the source material ever did, and it continues to be a nostalgic favorite for many X-fans. We invited our first-ever guest, Cameron Kunzelman (co-host of Just King Things, Shelved By Genre, and other shows on the Ranged Touch podcast network) to offer a fresh perspective. Together, we go through the first 13 episodes of the show and talk honestly about what holds up, what doesn't, and what made this such a unique series for its time.

With the Avengers and Fantastic Four temporarily outsourced to Rob Liefeld and Jim Lee in 1997, Marvel touted the ostensibly brand-new heroes of the Thunderbolts as the next big thing to a somewhat skeptical comics readership. The legendary twist ending to the first issue made the book into an overnight success but sometimes overshadows the work Kurt Busiek and Mark Bagley did on the rest of the series, making this comic worth a re-examination. We'll discuss the origins of the concept, the first year of the series, and how the creators refreshed Silver and Bronze Age superhero tropes while developing a bunch of C-list villains into vibrant, interesting characters.