Word Balloon Comics Podcast

We discuss the moonshot, andI can't help but think about apollo days. Keith promotes Green Hornet Noir City from Moonstone Books, and we talk about his TV essays at Reactor Magazine and many other short stories in current magazines, like Weirdi Tales. 

Today on Word Balloon, I'm talking with a creator who's carving out his own lane between nostalgia, genre chaos, and straight-up adrenaline storytelling, Curt Pires. From his breakout fantasy hit Lost Fantasy at Image Comics: a monster-slaying throwback with serious momentum thanks to artist Luca Casalanguida. To the hyperviolent sexy cosmic trip parody of Galactic at DSTLRY with Amilcar Pinna, Curt's work is all about big swings and bold humor. Now he's leveling up again with Fireborn, co-written with musician Franklin Jonas and drawn by Patrick Mulholland. It's a neon-charged, '90s comics and 32-bit video game fever dream about a billionaire's reckless son fused with a dragon egg in the heart of New York City. We'll talk about the evolution of his storytelling, the energy behind these books, and why Fireborn might be his wildest ride yet.

The Beasts Of Berwyn joined ne live on stage to discuss their careers and their excellent Saturday night show on METV 

SCTV Head Writer Dave Thomas joined to to discuss writing comedy, his love for Superman and  promoting his sci-fi comedy book we wrote with Max Allen Collins 

For Part 2 of my conversation on radio sketch comedy, we're diving deeper with one of the true architects of the form, Phil Proctor from The Firesign Theatre. Long before podcasts made audio storytelling cool again, Firesign was bending minds and blowing up the rules with albums like Don't Crush That Dwarf, Hand Me the Pliers. Layered, surreal, and way ahead of its time. For anyone like me who grew up obsessed with what you could do with sound, characters, and pure imagination, Phil wasn't just part of the act,he helped invent the language. In this second round, we go even deeper into the craft, the chaos, and the lasting influence of audio comedy that still echoes today.

Back in my WXRT days, when rock radio still had a little room to get weird, there was one audio ,The Usual Suspects. Their sharp, character-driven sketches didn't just make me laugh, they lit the fuse for everything I later tried on The Score and even here on Word Balloon. Today, I'm talking with two of the masterminds behind that magic, Barb Wallace and Tom Wolfe, a brilliant writing team whose partnership went from Chicago airwaves to Hollywood success, with credits on shows like Murphy Brown and Welcome to New York, starring Christine Baranski and a young Jim Gaffigan. For me, these two weren't just funny—they were the blueprint.

From 2021 Filmmaker Stacey Souther made an incredible documentary about Valerie Perrine , who made us all fall in love with her Superman performance as Lex Luthor's Moll  not to mention Lenny, Slaughterhouse Five, WC Fields and Me and more. She was nominated for best actress in the Oscars for Lenny with Dustin Hoffman but then was in the Disco Bomb Can't Stop The Music with The Villiage People. I spoke to Stacey about the film and his longtime friendship with Valerie. 

Ok, I gave Mitch Wayne and Franco the day off while I vent my spleen with the guys from Dork Court John Price a teacher and essayist who's been writing about Star Trek for Years, and Larry Young of Planet AIT LAR and the excellent Astronauts In TRouble series.I swear a lot on this episode. I couldn't hold back on my frustrations about Alex Kurtzman Star Trek. The confirmation that there will be no more than the 2 already amde seasons of Academy. Good. 

Today on Word Balloon, we're diving into one of those conversations that I love—because it's not just about comics, it's about how we read comics. My guest is Dr. Stanford Carpenter, cultural anthropologist, comics scholar, and one of the driving forces behind Comicpalooza University, and we get into a really interesting debate about the Fantastic Four.Stanford makes the case that the Fantastic Four can be seen as a kind of white colonial metaphor—a reflection of 1960s power structures, exploration narratives, and who gets to define “the unknown.” And honestly? I push back. Because while I absolutely get where that reading comes from, I've always seen the FF first and foremost as a family book—messy, emotional, human… and a product of Stan Lee and Jack Kirby trying to tell more grounded, character-driven stories in the middle of the space race.So this becomes a really fun, thoughtful back-and-forth about intent versus interpretation…about whether these stories reflect colonial thinking, or just the era they were created in…and how much meaning we should assign to that when we're reading them today. It's smart, it's respectful, and yeah—we don't totally agree. And that's the good stuff.

A WB classic from 2005 Walter Simonson looks back at his classic work. From Thor The Frog and the creation of Beta Ray Bill, to Orion and The New Gods.From his collaborations with Martin Pasko to put the bronze age spin on Dr Fate, to reviving Manhunter with Archie Goowdwin. We talk about the Fantastic Four, his spin on X-Factor co-plotted with his wife Louise , to working on the Marvel Star Wars comic at that awkward time between The Empire Strikes Back, and Return Of The Jedi.Tales of wonder, from a true master.

The Finder creator is back with a new famiy fantasy series eries she's posying free at her patreon. It's part Harry Potter Part Twilight Zone and part star trek. patreon.com/carlaspeedmcneil 

Today, we're diving into one of the more… let's say unique corners of pop culture with my guest, Mr. Skin, as we talk about this year's Skinatomy Awards. Now before anyone clutches their pearls, let me just say this. I've always believed in free speech. Not in some high-minded, academic way… just in a real, common-sense way. People should be able to express themselves. That includes language, that includes humor, and yeah, that includes celebrating the human body.That's why on this show, I don't get uptight about a little salty language, and I'm certainly not afraid to have an honest conversation about nudity in film and television. And honestly, that's what makes talking to Mr. Skin interesting. Because beyond the laughs and the lists, there's actually a real conversation here about how culture shifts. What's acceptable, what's not, how different countries approach it, and how those attitudes have changed over time.So today, we're going to have some fun with the Skinatomy Awards, but we're also going to dig a little deeper into how pop culture, censorship, and evolving tastes all collide in ways you might not expect.

There's been a lot of chatter lately about Green Lantern—especially with Grant Morrison weighing in on Damon Lindelof's comments and HBO's decision to frame its upcoming series around  Lanterns. And look,when Grant Morrison speaks up about Green Lantern, it's not noise. It's coming from real creative experience.Grant, along with artist Liam Sharp, delivered one of the most imaginative and ambitious Green Lantern runs in recent DC Comics history.A run that really leaned into the cosmic weirdness, the science fiction roots, and the larger-than-life mythology that makes the character work. So this isn't theory. This is practice.Today, I want to take you back to a 2020 conversation I had with Grant during the COVID lockdown. A moment when we had the time to really dig into what makes Green Lantern special. You'll also hear insights connected to Liam Sharp's work on the book, and how both creators approached the character not just as a superhero—but as a gateway to big, wild, conceptual storytelling. If you've ever wondered why Green Lantern matters, why the concept still has legs, and why creators keep coming back to it, this is a great place to start.

Steve The Dude Rude is back to talk about his upcoming  NEXUS BATTLE FOR THUNEWORLD ARTIST EDITION LAUNCHING ON BACKERKIT MAR 28 for more info go tohttp://www.steverude.com/thuneworldae

Our long nightmare is over...for now. 

Dan is back to talk about Superman Unlimited and the big Supes event that starts this Wednessday Reign Of The Superboys with issue 11.We also talk about his upcoming Sipder-Man Noir '38 Superman crossover, in the Marvel version of the event April 15thDan alo previews a new FF story in the Fantastic Four First Foes MCU one shot with Mark Buckingham.plus he teases comic back to a monthly Spidey book, with the return of The Spectacular Spider-Man in May. 

Ahoy again, cruise lovers! Welcome back to E-Motion Sickness, the Word Balloon Love Boat re-watch where Ian Brill Franco and I climb aboard the Pacific Princess and relive the romance, comedy, and wonderfully over-the-top guest stars that made this show a Saturday-night TV institution.Today we're diving into Season 1, Episode 2, which originally aired October 1st, 1977 — and already you can see the formula that would make The Love Boat a hit for the next decade. Three stories, a boatload of celebrity guest stars, and plenty of romantic chaos on the high seas.First up is “Oh, Dale!” featuring a very young John Ritter, playing a heartbroken guy who sneaks onto the cruise disguised as a woman just to chase after the girlfriend who dumped him — and winds up sharing a cabin with another jilted passenger played by Tovah Feldshuh.Then there's “The Main Event,” where future Jeffersons legend Sherman Hemsley and comedy powerhouse LaWanda Page play a constantly bickering married couple who suddenly have to confront their relationship when they get trapped together in an elevator.And finally “A Tasteful Affair,” starring Jaclyn Smith and Dennis Cole in a romantic mystery where a woman trying to escape her troubled marriage takes the cruise — unaware that the charming man she's met on board is actually the private investigator her husband hired to spy on her.It's classic Love Boat: disguises, romantic misunderstandings, and a cast list that looks like a 1970s TV all-star game. So pour yourself a tropical drink, grab a deck chair, and join us as we revisit John Ritter in drag, elevator warfare with Hemsley and Page, and one of the early Jaclyn Smith appearances just before Charlie's Angels took off. This is E-Motion Sickness — a Love Boat re-watch — only on Word Balloon.

Along with thoughts on Big Jim and The White Boy, we get into David's upcoming book on Black Cinema, his thoughts on Sinners, in time for the Oscars, and more 

Today we're talking about one of the biggest icons in pop culture, Godzilla, and how the King of the Monsters is stomping his way through comics right now over at IDW. My guest is Jake Williams, the editor guiding the current and upcoming wave of Godzilla books. And if you've been paying attention, IDW has been building something really fun in the kaiju corner of the comics world. Bringing in a wide range of creators with very different storytelling styles to tackle the legendary monster.We'll talk about the current titles and what's coming next, including past work from creators like Tim Seeley, Van Jensen, Tom Scioli, and more, each bringing their own spin to the mythos. From wild monster battles to sci-fi world-building and some very unexpected takes on the Godzilla universe, there's a lot going on in these books. Jake also gives us a peek behind the curtain at how the line is being shaped, what it's like coordinating different creators in the Godzilla sandbox, and how IDW is planning the future of their kaiju comics.

Today on Word Balloon, we're blasting off with two creators bringing one of science fiction's most legendary heroes back into orbit. Writer Alex DeCampi and artist Marc Laming have launched a Kickstarter to revive the classic British space adventurer Dan Dare, the Pilot of the Future. For generations, Dan Dare has been a cornerstone of UK science-fiction comics, created by Frank Hampson for the pages of Eagle back in 1950. Think epic space exploration, alien empires, and that clean, bold optimism that made the strip a cultural icon, alongside classic villains like the Mekon. Now DeCampi and Laming are bringing that universe roaring back with a new interpretation funded directly by fans. Today we're talking about why Dan Dare still matters, how you modernize a legendary character without losing the DNA that made him special, and what they're building with this Kickstarter campaign. From the story approach to the visual style, and what longtime fans and newcomers can expect.

In this episode, I sit down with cartoonist and longtime Marvel letterer Rick Parker for a wide-ranging conversation about his career in comics and cartooning. Rick spent years lettering at Marvel Comics, working during a fascinating period in the company's history and contributing his distinctive hand to titles like Amazing Spider-Man and many others. We talk about what lettering at Marvel was really like. How the job worked day-to-day, the production realities of the era, and how lettering quietly shapes the rhythm and storytelling of a comic page.Rick also discusses his creator-owned graphic novel Drafted, a powerful and personal project that reflects his own experiences with the Vietnam draft and military service. It's a candid look at the book's origins, the emotional weight behind the story, and why he felt compelled to tell it in comics form.And of course we dig into Rick's work as an artist, including his run drawing the Beavis and Butt-Head comic book, translating the anarchic MTV characters into comics while keeping their chaotic humor intact.

Today I'm talking with actor, writer, and lifelong comics fan David Dastmalchian. You know David from a ton of great genre work . He played Thomas Schiff in The Dark Knight, Kurt in Marvel's Ant-Man, and Polka-Dot Man in The Suicide Squad. And horror fans have been raving about his performance as the haunted late-night host Jack Delroy in Late Night with the Devil.But beyond acting, David is also a serious comic book storyteller. This week he's launching a brand-new graphic novel called Through, created with artist Cat Staggs. It's a haunting supernatural story that mixes horror, trauma, and redemption in a way that feels very personal to David. We talk about how Through came together, what it was like collaborating with Cat Staggs, and how comics have been part of David's life long before Hollywood came calling. We also get into his earlier comic work, the influence of classic horror and indie comics on his writing, and of course some stories from the sets of The Dark Knight, Ant-Man, The Suicide Squad, and the breakout horror hit Late Night with the Devil.

Kelly Sue DeConnick from 2012 lays out her Carol Danvers plans. They led to 32 issues a big movie hit and a new wave of Marvel readers 

Today on Word Balloon, we're celebrating a milestone in comics history — the 40th anniversary of The Dark Knight Returns , with the man whose inks helped define its look, Klaus Janson. When Frank Miller reinvented Batman in 1986, it wasn't just the writing and pencils that shocked the comics world. Janson's bold, expressive inks were a huge part of the book's gritty atmosphere, giving Miller's pages that raw, noir intensity that made Dark Knight feel unlike anything else on the stands. The result became one of the most influential graphic novels ever published . A book that reshaped how Batman was portrayed across comics, animation, and film. Klaus had already made his mark in the industry before Dark Knight, particularly with his legendary run on Daredevil, where he and Frank Miller forged one of the great creator pairings in comics. But Janson's career stretches far beyond those landmark collaborations.In this conversation, Klaus talks about working with some of the medium's most dynamic artists — John Romita Jr., John Buscema, Sal Buscema, and Bill Sienkiewicz, and how his inking approach adapts to very different drawing styles while still bringing his own storytelling instincts to the page.

On this episode of Word Balloon, I'm joined by writer Alex Segura. Alex has made a name for himself in comics and crime fiction, and now he's stepping back into the Marvel Universe with his new Daredevil prose novel.We talk about bringing Matt Murdock to life in a full-length novel, how the story captures the tone of Hell's Kitchen and Daredevil's world, and how writing a Marvel novel differs from telling stories in comics. It's a fun conversation about crime fiction, superhero storytelling, and Marvel's Man Without Fear.

On this episode of Word Balloon, I'm catching up with a creator who's never been afraid to follow his own path. Cartoonist Jim Terry made a huge impact in comics with his powerful graphic memoir Come Home, Indio, a deeply personal story about identity, heritage, and redemption that connected with readers across the industry.But Jim's creative instincts don't stop at the comics page. These days he's turning that DIY spirit toward filmmaking, writing and directing the ultra-independent action feature Shank. A true no-budget production built on pure hustle, creativity, and the same fearless storytelling that defined his comics work. We talk about the leap from comics to film, what it takes to make a movie when you don't have Hollywood money behind you, and how Jim approaches action storytelling whether it's panels on a page or shots on a screen.

Hey kids, you just suffered a major dose of Trauma in many ways. Let's all put on...a play?And great news Tilly from Discovery, who has no professional experience in dealing with Trauma is here to help ! 

Welcome back to Word Balloon , and welcome aboard for another episode of E-Motion Sickness: A Love Boat Re-Watch. We're starting right at the beginning with Season One, Episode One . The launch point for the whole Love Boat phenomenon: sunny escapism, rotating celebrity passengers, and just enough heartfelt romance to keep you watching even when the plot gets gloriously ridiculous. This first voyage brings a fun trio of guest stars: Jimmie Walker, Bonnie Franklin, and Suzanne Somers. Three very different flavors of late-70s pop culture all sharing the same floating matchmaking machine. And joining us as our featured passenger is Margaret Larkin from The Radio Girl Podcast, bringing sharp cultural context and great instincts for what's working, what's cheesy, and what still plays today.We're digging into the episode's storylines, the early-season vibe before everything locks into the familiar formula, and why this show became the ultimate “drop your brain at the gangplank” comfort TV. So grab your ticket, step onto the deck, and let's set sail  

Publisher Filip Sablik joins me to discuss the IP line ad their choices for genre fiction. 

From 2017 In this special live recording from Salt Lake Comic Con's FanX, legendary comic-book writer Marv Wolfman sits down with me for an expansive conversation spanning his remarkable career. Marv delves into his defining work on The New Teen Titans, the game-changing Crisis on Infinite Earths, his contributions to Blade and Tomb of Dracula, and more , all with the energy of a live audience fueling the discussion. Whether you're a longtime fan of his storytelling or just discovering his impact on comics, this episode offers insight, history, and plenty of passion from one of the medium's true icons.

We're getting down and dirty in the sticky-floored, neon-lit world of grindhouse cinema with filmmaker and storyteller Michael Stradford. Michael and I dive headfirst into the raw, unapologetic energy that made grindhouse legendary. The regional theaters, the four-wallers, the double features that mixed western gun smoke with kung-fu fury and hard-hitting blaxploitation attitude.We talk about what made those movies work, why they still matter, and how that anything-goes spirit shaped generations of creators who grew up on outlaw cinema.Michael also shares his Top 5 essential grindhouse picks, spanning dusty revenge westerns, street-level blaxploitation classics, and bone-crunching martial arts imports that defined the late-night experience. These aren't polite film-school choices. These are gut-punch, crowd-pleasing, projector-burned favorites. And we tease something big: Michael's upcoming grindhouse-inspired graphic novel, set to drop later this year. It channels that same no-rules aesthetic , bold characters, heightened action, and a story that feels like it could've played between trailers for switchblade revenge flicks and dubbed karate epics.

Franco and Scoot present Ninja Kaiju from papercutz. 2 Mad scientists are battling for  secret formula that turns an unspespecting nmild mafnered Ninja into a raging giant monster. Hilarity ensues. 

From 007. Today we dive into one of the true pillars of modern comics and animation , Dwayne McDuffie, the co-founder of Milestone Media and creative force behind Static Shock, Damage Control, and countless Justice League stories.In this episode we sit down with Dwayne to unpack his journey from groundbreaking comic book writer to influential TV producer, his passion for superhero storytelling, and how his work reshaped representation on the page and screen. We get into his creative process, the behind-the-scenes of the Justice League animated universe, his time bringing Static Shock to life, and why his approach to heroes ( both in comics and cartoons ) was never just about punches and capes, but about heart, diversity, and storytelling that matters.

Shelly Bond and Philip Bond join me to talk about their new Kickstarter project, 100 FAQs on Making Comics, a straight-shooting, experience-driven guide for anyone serious about breaking in or leveling up in the comics industry.Shelly brings decades of hands-on experience editing creator-owned books as well as shaping landmark work at Vertigo and IDW, giving her a front-row seat to what actually makes comics succeed creatively and commercially. Philip complements that insight with sharp storytelling instincts and his signature humorous illustrations that make the lessons land without feeling like homework. Together, they're tackling the real questions creators ask about craft, pitching, collaboration, deadlines, and navigating the business, turning hard-earned industry wisdom into an accessible, entertaining playbook for the next generation of comics makers.support the campaign and buy the book here https://t.co/3Guqatubvi

In 1978 there was Cancel Culture, Of a Different Kind. In this wide-ranging conversation, Paul Kupperberg kicks things off by revisiting the chaos and opportunity of DC's infamous Implosion, detailing how he helped salvage lost work through the two landmark volumes of Canceled Comic Cavalcade, a rare behind-the-curtain look at comics that almost vanished into history. From there, we dig into his run on Vigilante, where street-level justice met moral complexity, and his offbeat, character-driven take on Doom Patrol. Paul also shares sharp, funny stories from his time writing for Crazy Magazine and the gloriously absurd headlines of Weekly World News, revealing how satire sharpened his storytelling instincts. Along the way, he reflects on the industry's evolution, the hustle of staying versatile, and even teases a few new projects that prove he's still very much in the game.

Ed Catto, professor at Ithaca College and Editor-in-Chief of RetroFan Magazine joins us for a lively dive into the newest issue, packed with pure pop-culture comfort food. We talk Saturday morning cartoons and why they still matter, behind-the-scenes conversations with cast members from The Brady Bunch, and a terrific about Don Novello about the enduring appeal of Father Guido Sarducci.Ed also gives a forward-looking preview of Ithacon, Ithaca College's long-running comic convention, sharing what fans can expect and why it continues to be a vital gathering spot for creators and enthusiasts alike.

Part three with Diana Schutz is where the long view comes into focus. She traces the beginnings of her friendship with Brian Michael Bendis , how that relationship started, why it endured, and what it says about spotting talent early and sticking with your people.From there, Diana talks about teaching at Portland State University, building a comics-focused class from the ground up, and eventually turning it over to Shelly Bond , another respected editorial voice. It's about mentorship, paying it forward, and making sure the next wave understands both the craft and the business.Then she walks through her start at Dark Horse Comics in its early days , when the company was still defining itself and the independent boom was taking shape. Diana reflects on her enduring friendship with Bob Schreck after their divorce, proof that professional respect and personal history don't have to collapse when relationships change. And finally, she discusses joining the judges committee for the Will Eisner Comic Industry Awards Hall of Fame , helping shape how the medium honors its own history. It's a fitting role for someone who has spent decades fighting for creators and preserving the integrity of the craft.

Part two with Diana Schutz picks up right where the real war stories begin.This time, Diana pulls back the curtain on her Comico years , stepping into the editorial trenches at a publisher that, for a moment, looked like it was riding high. She talks candidly about the challenge of wrangling the Robotech comics line,but also the joy of editing Johnny Quest, working with the legendary Doug Wildey and the always inventive William Messner-Loebs. She breaks down why that book worked . Then comes the sobering part: Comico's collapse. Diana explains that it wasn't simply bad luck — it was a fundamental misunderstanding of how the newsstand distribution system actually operated. In the early direct-market dominance era, that mistake was fatal. A harsh lesson in the business side of comics that too many creative-driven companies learned the hard way in the '80s.From there, Diana recounts her earlier blink-and-you'll-miss-it four-day stint at Marvel Comics as an assitant editor for Ann Nocenti , working under Editor-in-Chief Jim Shooter. She doesn't hedge. The rigid, top-down editorial structure simply wasn't a fit for her. Diana closes this segment by giving heartfelt credit to her then-partner Bob Schreck for helping her land back on her feet, find new opportunities, and stay in the industry after some serious professional gut punches. It's a compelling look at the pitfalls of trying to survive the comic biz in the 80s and 90s. Part 3 tomorrow. 

This is Part One of a three-part deep dive with comics legend Diana Schutz, whose editorial fingerprints are all over modern comics history. From her influential years at Dark Horse to her early work during the Comico era and beyond...We start at the beginning: Diana's first exposure to comics through Supergirl and her love for the clean, expressive style of 1960s comic art. That passion never faded—it evolved. She walks us through the meticulous process of restoring a classic Lois Lane cover, explaining how comics restoration has grown into a serious craft and industry of its own.From there, we explore her current work translating a graphic novel by Brazilian artist Ricardo Leche for a new high-end comics art publisher, and she breaks down the real art of translatio. Why cultural nuance matters, and why having the right English-language voice is essential to preserving tone and intent. We also rewind to the early '80s, when Diana launched The Telegraph Wire, a 32-page bi-monthly comics magazine that began as a retailer newsletter and became a proving ground for her editorial skills. She talks about learning graphic design on the fly, selling ads, interviewing creators, and building something from scratch in a pre-internet comics landscape. It's a vivid look at a smaller, more intimate industry, one where relationships mattered and information wasn't instantly searchable. Along the way, Diana reflects on working at Comics & Comix, getting recruited by Kim Thompson to write for Amazing Heroes, connecting with Matt Wagner, and navigating an industry that had very few women in visible roles at the time. She shares memories of mentors like Trina Robbins, editors like Maggie Thompson and contemproraries like Karen Berger, and even her wild experience serving as Tom Baker's minder at a Chicago Doctor Who convention, complete with behind-the-scenes fandom chaos. This first chapter of our conversation is about origins, craft, and survival in a young comics industry that was still figuring itself out. And it sets the stage for much more to come.

On this episode of Word Balloon, I'm joined by writer Dave Baker to talk about his new Top Shelf graphic novel Punk N' Head, a wild, heartfelt, and sharp-edged story that blends music, identity, and outsider energy into something that feels both chaotic and personal. Dave breaks down the inspiration behind the book, the visual collaboration, and why this one hits close to home.We also get into his adventures in animation writing. The hustle, the rooms, the realities of working in that fast-moving industry,and he shares an absolutely insane story about developing a Navy SEALs vs. aliens film that proves Hollywood can be as surreal as any sci-fi script.On top of that, we talk about his own podcast Deep Cuts, where Dave digs into the overlooked, under-discussed corners of pop culture. It's a funny, candid, and occasionally unbelievable conversation about making comics, surviving the entertainment business, and finding your voice in the chaos.

In this episode of Word Balloon, I sit down with longtime DC writer and historian Bob Rozakis for a deep dive into his Bronze Age experiences writing Robin, Teen Titans, Superman, and more during one of the most transitional eras in comics history. Bob reflects on crafting character-driven stories at a time when DC was recalibrating its identity, sharing behind-the-scenes insight into working with iconic heroes while balancing continuity, editorial demands, and the evolving tastes of readers in the 1970s and early '80s. From Robin back-ups to Titans team drama and Superman tales, Bob paints a vivid picture of what it was like working inside DC when the Bronze Age was firing on all cylinders. We also revisit one of the most unique chapters in DC lore, when Bob literally drove the DC Comics promotional “mobile” around New York and New Jersey hand-selling books like a Good Humor ice cream man.He shares stories of being there when Christopher Reeve judged a Superman movie contest at DC, capturing that moment when comics and Hollywood suddenly collided in a big way. Bob offers candid memories of the DC Implosion. What it felt like from the inside as titles were slashed and uncertainty hit the staff, and how creators adapted during a turbulent stretch in the company's history.We also discuss his fascinating alternate-history essays published in Alter Ego, where Bob imagines a world in which DC and All-American Comics never consolidated the way they did. It's a smart, playful exploration of “what if” publishing scenarios from someone who knows the real history inside and out.

We review the SAM/DS9 episode, featuring Teen Bar fights a senior staff dinner with a fish that farts and glitter vomit.This was there idea of an Avery Brooks tribute. At least it was good to see Jake Sisko. 

In this episode of Word Balloon, I'm joined by writer Dennis Hopeless for an honest, wide-ranging conversation about career pivots, creative freedom, and why he's done pitching new ideas to Marvel.Dennis breaks down what pushed him toward the creator-owned route and why Ignition Press is the right home for his new series Just Brutal. The book flips classic sword-and-sorcery on its head, following a modern family of adventurers who battle barbarian-style monsters while dealing with very real, very human dynamics. It's big, bloody, and grounded in character. Exactly the kind of project that benefits from full creator control. We also look back at some of Dennis's most high-profile Marvel work, including Avengers Academy, and he speaks candidly about the backlash, hate mail, and social-media blowback that came with writing teen heroes during a volatile moment in fandom. It's a clear-eyed discussion about creative risk, audience expectations, and the personal toll of working inside big IP.

The crossover continues as I join Sal Crivelli for Part Two, where the conversation zeroes in on specific creative flashpoints in current comics, and a shared love of pop-culture comfort food. We compare Joe Kelly's and Zeb Wells' respective runs on Amazing Spider-Man, breaking down what worked, what frustrated readers, and why Spidey remains one of the toughest characters to steer long-term. We also look ahead to the upcoming Superman/Spider-Man crossovers by Mark Waid and Brad Meltzer, and why these projects feel like a genuine event rather than a nostalgia cash-in. On the DC side, we talk about the strong momentum behind DC KO and the DC Absolute lines, why those initiatives are connecting with readers, and what they suggest about DC's current editorial confidence.And because not everything has to be a debate, we wrap by bonding over our mutual love of Mystery Science Theater 3000, celebrating the joy of smart riffing, bad movies, and shared fandom.