Podcasts about Force Works

The Avengers, Force Works and War Machine are all thrown into a web of lies, treachery and broken bonds. 2 murders in Avengers mansion rock the team to its core when it is shown who was responsible. Or was it who the evidence points to? We find out this week!See omnystudio.com/listener for privacy information.

The Avengers, Force Works and War Machine are all thrown into a web of lies, treachery and broken bonds. 2 murders in Avengers mansion rock the team to its core when it is shown who was responsible. Or was it who the evidence points to? We find out this week!See omnystudio.com/listener for privacy information.

Avengers, Force Works, Iron Man and more are all tangled in a time crossing adventure. It starts with a few Avenger allies being killed IN the mansion, but who could have done that and why? The who is answered this week!See omnystudio.com/listener for privacy information.

Avengers, Force Works, Iron Man and more are all tangled in a time crossing adventure. It starts with a few Avenger allies being killed IN the mansion, but who could have done that and why? The who is answered this week!See omnystudio.com/listener for privacy information.

In the last five years, the Treasure Valley has seen a 26% increase in drunk driving, and 42% of fatal car crashes were related to someone driving while impaired.

Today we talk about Daisy Johnson, also known as Quake and an agent of SHIELD, who has followed Nick Fury since she was a teen, went on a secret unsanctioned assassination mission, and also exploded Wolverine's heart. Today's mentioned & relevant media: -Secret War (2004) #2-3, 5 -New Avengers (2004) #18, 20, 62 -Secret Invasion (2008) -Dark Reign: New Nation (2008) #1 -Secret Warriors (2009) -Dark Avengers (2009) #9 -Siege (2009) -Siege: Secret Warriors (2010) #1 -Avengers (2010) #16, 19-20, 22-24, 28, 33-34 -Battle Scars (2011) #2, 6 -Avengers Vs. X-Men: Consequences (2012) #3 -Secret Avengers (2013) #3-4, 6-7, 9, 16 -Bucky Barnes: The Winter Soldier (2014) -S.H.I.E.L.D. (2014) #7, 9, 12 -Quake: S.H.I.E.L.D. 50th Anniversary (2015) #1 -All-New, All-Different Point One (2015) #1 -Agents of S.H.I.E.L.D. (2016) -IVX (2016) #3-6 -Inhumans Prime (2017) #1 -Secret Warriors (2017) -The Punisher (2016) #224-225, 227 -Marvel Rising (2019) #2-5 -2020 Force Works (2020) -Absolute Power: Super Son (2024) #1 -Dazzler (2024) #1 -Metamorpho by Al Ewing announcement Thanks to Victoria Watkins for our icon! Support Capes and Japes by: Checking out our Patreon or donating to the Tip jar Find out more on the Capes and Japes website.

Veteran comic artist: Thomas Tenney (Marvel, DC, Creepshow) needs our help! Thomas and his family are at risk of homelessness, and he's relying on family and friends for help. A GoFundMe page has been created to help Thomas at this link: https://www.gofundme.com/f/help-artist-tom-tenney-and-family. Please, consider donating if you can. In honor of Thomas Tenney, this week's episodes is a Short Box Classic! Let's take it back to March 2020, and revisit an interview with the celebrated comic artist: Thomas Tenney, co-creator of Marvel's Force Works. Tenney is an open book as he recalls stories from his extensive career, being mentored by the late great Gene Colan, drawing for AC/DC, working on Shudder's Creepshow, and the important lessons he's learned along the way! Get early access to future episodes, comics and merch, and listen to hundreds of bonus episodes (like the latest one), over on our Patreon Channel. Try a FREE seven-day membership: Here!SUPPORT THE SHOW: MERCH SALE! Get 20% off your next purchase from our merch store by using the discount code: “YOO“Take your comic shopping experience to the limit, by shopping online at Gotham City Limit!Join our Patreon Community and get VIP treatment, bonus episodes, and other perks and rewards! Try out a free 7-day trial, here. No pressure We read Fan Mail! Send us some Proudly sponsored by Gotham City Limit!Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the Show.GET IN TOUCH WITH US!

In today's episode, we're joined by Steve Mordue, CEO of RapidStart Global, formerly Forceworks. Steve talks about managing a global team and the future of AI and remote work. He discusses his journey from starting Forceworks to adapting to new technologies, highlighting the need to stay ahead in the tech industry.Key Takeaways:(00:54) Slowing down and effectively delegating tasks is vital.(05:25) Transitioning from Salesforce to Microsoft and creating RapidStart apps.(10:50) The benefits of remote work and its early adoption.(15:40) How AI is transforming CRM systems and business applications.(20:15) Embracing machine learning and AI in business early on.(25:35) Moving to a subscription-based service model.(34:00) Balancing work and life as an entrepreneur.(45:00) The evolving role of technology in business.Resources Mentioned: Steve Mordue - https://www.linkedin.com/in/stevemordue/RapidStart Global | LinkedIn - https://www.linkedin.com/company/rapidstartglobal/RapidStart Global | Website - https://rapidstart.com/This episode is brought to you by Content Allies.Content Allies helps B2B tech companies launch revenue-generating podcasts and build relationships that drive revenue through podcast networking. We schedule interviews with your ideal prospects and strategic partners so that you can build relationships and grow your business. You show up and have conversations; we handle everything else. Learn more at ContentAllies.com. #B2B #BusinessLeaders #Leadership

Today we talk about Simon Williams, who got ionic energy powers to become Wonder Man, almost died, woke up to find his brain was imprinted on an android, died, came back as pure energy, had a crisis, but he's okay now we think. Today's mentioned & relevant media: -Avengers (1963) #9, 58, 131-132, 151-182, 187-189, 192-211, 231, 239, 250, 253-255, 302-308, 313-314, 329, 332-333, 345, 347, 675-690 -Giant-Size Avengers (1974) #3 -Avengers Annual (1967) #6, 8-10, 15-16, 18-19, 21 -Defenders (1972) #47-48, 98, 104 -Captain Marvel (1968) #54 -Ms. Marvel (1977) #18 -Iron Man (1968) #114-115, 226, 229, 231, 263, 284, 288, 313 -Marvel Team-Up (1972) #78, 136 -Marvel Two-In-One (1974) #51, 78, 92, 96 -Marvel Premiere (1972) #55 -Incredible Hulk (1962) #278-279, 316, 320-323, 380 -Vision and the Scarlet Witch (1982) #3 -Thing (1983) #5-6 -West Coast Avengers (1984) -Iron Man Annual (1976) #7 -Beauty and the Beast (1985) #1 -West Coast Avengers (1985) -Vision and the Scarlet Witch (1985) #2, 12 -Wonder Man (1986) #1 -Fantastic Four (1961) #293-294, 304, 315, 322, 333, 367-370, 556, 562 -West Coast Avengers Annual (1986) -Solo Avengers (1987) #1, 8, 12-13 -Fantastic Four Annual (1963) #22 -Marvel Comics Presents (1988) #38-45, 119 -Avengers Spotlight (1989) #28-30, 32, 38 -Quasar (1989) #11-12, 28-29, 32-33, 38-39 -Marvel Super Heroes (1990) #4, 9 -Excalibur (1988) #37-39 -Damage Control (1991) #3-4 -Wonder Man (1991) -Thor (1966) #445-446 -Infinity War (1992) -Cage (1992) #6-8 -Infinity Crusade (1993) -Silver Surfer (1987) #85 -Scarlet Witch (1994) #1, 4 -Force Works (1994) #1, 4 -Tales of the Marvels: Wonder Years (1995) (tpb) -Avengers (1998) #2-59, 501-503 -Cable (1993) #66-68 -Thunderbolts (1997) #25, 34, 42-44, 55-57, 65, 107, 125 -Avengers Forever (1998) #8, 11-12 -Galactus the Devourer (1999) -Avengers Two: Wonder Man and Beast (2000) (reprint) -Avengers: The Ultron Imperative (2001) #1 -The Order (2002) #3, 5-6 -Marvel Universe: The End (2003) #5 -Avengers Finale (2004) #1 -House of M (2005) #1-2, 8 -The Thing (2005) #1, 6, 8 -Civil War (2006) #3-4, 6-7 -Civil War: Front Line (2006) #4-8 -Ms. Marvel (2006) #6-8, 12-17, 21-25, 27 -New Avengers (2004) #24, 28-30, 34-36, 38, 40-41, 51, Annual 3 -Wonder Man (2006) -Ms. Marvel Special (2007) #1 -The Mighty Avengers (2007) #1-9, 11, 14, 20 -Avengers: The Initiative (2007) #1-4, Annual 1, 8, 11-12 -Fallen Son: The Death of Captain America (2007) #2, 5 -World War Hulk (2007) #1-2, 5 -Giant Size Avengers (2007) #1 -Incredible Hercules (2008) #113-114 -Avengers Classic (2007) #9 -World War Hulk: Aftersmash! - Damage Control (2008) #2 -Secret Invasion (2008) #1-2, 4, 6-8 -Avengers/Invaders (2008) #2, 4-8, 12 -Secret Invasion: Who Do You Trust? (2008) #1 -Dark Reign: Lethal Legion (2009) -War Machine (2008) #8-10 -Avengers (2010) #1-2, 7, 25, 31-32, 34 -Avengers: The Children's Crusade (2010) #3-9 -New Avengers Annual (2011) #1 -Avengers Annual (2012) #1 -Hulk Smash Avengers (2011) #4-5 -Uncanny Avengers (2012) #5, 7, 9-13, Annual 1, 21, 23 -A+X (2012) #12 -Avengers Assemble (2012) #20 -Vision (2015) #&, 11 -Uncanny Avengers (2015) #22-23, 27-28, 30 -Secret Empire (2017) #1-2, 5, 7 -Secret Empire: Brave New World (2017) #2 -Occupy Avengers (2016) #8 -Secret Warriors (2017) #5 -Avengers (2016) #675-690 -War of the Realms: Journey into Mystery (2019) -Tony Stark: Iron Man (2018) #15-19 -Empyre: Avengers (2020) -Invincible Iron Man (2022) #6 -Avengers Unlimited Infinity Comic (2022) #55-57 -X-Force (2019) #49-50 -Incredible Hercules Complete Collection Vol. 1 -Absolute Power (June/July titles) Thanks to Victoria Watkins for our icon! Support Capes and Japes by: Checking out our Patreon or donating to the Tip jar Find out more on the Capes and Japes website.

We take you back to Saturday mornings in the 90s with the Marvel Action Hour and Iron Man The Animated Series! Rob and Will explore Marvel's attempts to become a “mini-Disney” in the Nineties, how they merged with huge toy company ToyBiz, founded an animation studio and how Marvel ended up OWNING TV stations all across America! We'll also learn that the Nineties were a time when Iron Man wasn't exciting enough to front a series on his own, so Marvel packed the cartoon with FORCE WORKS, an extreme version of The Avengers that featured Hawkeye, Spider-Woman and Wanda! This clip is taken from our full episode deep-diving into Iron Man The Animated Series https://open.spotify.com/episode/4bW6ujqQPhcfBBpi1XYmi5?si=NlKj7d-lQBGHxQfGHJuUDg For awesome bonus episodes visit https://www.patreon.com/marvelversusmarvel marvelversusmarvel@gmail.com https://twitter.com/marvelversus https://twitter.com/robhalden https://robhalden.com https://will-preston.co.uk

Welcome to the ChatGPT report, we welcome Steve Mordue who is an 8-time Microsoft Business Applications MVP and the CEO of Forceworks which is pioneering in leveraging AI within Microsoft Dynamics 365 and Microsoft's power platform to transform business What will we talk about today? Q 1 - People like examples so to that point - How does integrating AI with Microsoft Dynamics 365 and Power Platform help in transforming businesses? Could you provide an example of a transformation you facilitated? And remember you're speaking to Ryan here, don't go too deep Q2 - With AI really taking shape this past couple years what has been the most overhyped or underhyped part of integrating AI Q3 - You talk a little bit about Copilot M365…but how good is it actually? and what are some exciting features that aren't talked about on the street Q4 -  Who do you think has the edge in the AI space? Microsoft, Google, Apple? Or a smaller more agile company? Q5 -  Finally, looking towards the future, what new innovations or advancements is Forceworks exploring to enhance your AI and Microsoft Dynamics capabilities? Q6 - What is something you've created that didn't get a ton of recognition but you really enjoyed creating Q7 - We talk about a lot of accolades but what is a failure in your career that will stick with you either “I won't make that again” or “What a lesson that was?”

Zach takes a deep dive into one of his favorite often-overlooked characters: Simon Williams, aka, WONDER MAN!Maybe when the episode is over, you won't think he's quite so lame. That's the goal!---------------------------------------------------Check out Dreampass and all their killer tracks on Spotify!---------------------------------------------------Join the Patreon to help us keep the lights on, and internet connected! https://www.patreon.com/tctwl---------------------------------------------------Listen to my other podcast!TFD: NerdcastAnd I am also part of the team over at...I Read Comic Books!---------------------------------------------------Want to try out all the sweet gigs over on Fiverr.com? Click on the link below and sign up!https://go.fiverr.com/visit/?bta=323533&brand=fiverrcpa---------------------------------------------------Follow on Instagram!The Comics That We LoveFollow on Tiktok!The Comics that We LoveFollow on Twitter!@Z_Irish_Red

Today we talk about Julia Carpenter, who was unethically experimented on to get spider powers, ended up on the Avengers, was given psychic powers, and really just was on the run from the government a LOT. Today's mentioned & relevant media: -Secret Wars (1984) #6-12 -Uncanny X-Men (1963) #206, 307 -X-Factor (1986) #8-9 -Avengers Annual (1967) #15 -Iron Man (1968) #214, 284, 288, 311-312, 317, 319, 324 -Peter Parker, the Spectacular Spider-Man (1976) #125-126 -West Coast Avengers (1985) #70-102 -Wonder Man (1991) #2, 12, 16-18 -Avengers (1963) #345, 368 -Captain America (1968) #400-401, 437 -Infinity War (1992) #1, 3 -Secret Defenders (1993) #1-3, 20-21 -Infinity Crusade (1993) -Warlock and the Infinity Watch (1992) #18-20 -Spider-Woman (1993) -Scarlet Witch (1994) -Force Works (1994) -War Machine (1994) #4, 9-10, 22 -Marvel Comics Presents (1988) #159, 166-172 -Avengers (1998) #1-4, 14 -Amazing Spider-Man (1999) #5, 634-637, 664-673, 678-679, 689-691, 695-697 -She-Hulk (2004) #10 -Ms. Marvel (2006) #6-8, 13-14 -Civil War: The Initiative (2007) #1 -Omega Flight (2007) -Marvel Comics Presents (2007) #3-4, 6-9, 12 -The Mighty Avengers (2007) #21, 23 -Spider-Island (2011) -Scarlet Spider (2011) #6, 15 -The Amazing Spider-Man (2014) #4, 15 -Daredevil (2014) #16-18 -Deadpool's Secret Secret Wars (2015) #3-4 -Prowler (2016) -The Amazing Spider-Man (2018) #44, 48-57 -Amazing Spider-Man: The Sins of Norman Osborn (2020) #1 -Edge of Spider-Verse (2022) -Spider-Man (2022) #1-4, 6-7 -Spider-Verse Unlimited Infinity Comic (2022) #31, 49-53 -Edge of Spider-Verse (2023) #4 -The Amazing Spider-Man (2022) #31 -Spider-Woman (2023) #1, 3-4 -Women of Marvel (2024) #1 -Web of Spider-Man (2024) #1 Thanks to Victoria Watkins for our icon! Support Capes and Japes by: Checking out our Patreon or donating to the Tip jar Find out more on the Capes and Japes website.

Send us a Text Message.It's finally Sequel chat time on the AITSP podcast this week.We discuss the treatment of force users new and old in Episodes VII, VIII and IX of our beloved franchise, as Luke, Rey and Kylo Ren go under our terrible microscope.We talk about their treatment, their character arcs and their interactions with each other. Most importantly, what would we (in our infinite wisdom) have done differently?There's also a roundup of the latest Marvel and Star Wars news in our universe, and Steff discusses how a deepset, long held belief of his has recently been shaken to its very core...You can contact us at:aloneinthesouthpassage@gmail.comWe can be found on:Instagram - @aitsp_podcastTwitter - @aitsp_podcastYoutube - https://www.youtube.com/channel/UCTeKX6NB1XOIPXOraGfIfhw

We're at Part V of the Crossing, and things are getting serious!  We debut the new Wasp and also discuss Iron Man 324, Force Works 20 and War Machine 23.

Now we're in the thick of it!  Our villains have been revealed and its a full run to the finish!  This episode is a biggie, with a deep dive into Avengers 393 and recaps of War Machine 21-22, Iron Man 323 and Force Works 19.

We start out this week with a deep dive into Avengers 392, and then we recap War Machine 20, Iron Man 322 and Force Works 18.  The plot of this crossover begins to come together and the action ratchets up!

We continue our delve into The Crossing!  We spend most of our time on Avengers 391, while also touching on Iron Man 321 and Force Works 17.  Is there an actual plot here, or just more and more issues of foreshadowing and clue dropping?  Listen along to find out!

It starts here!  We've teased it for the last few episodes, but now we actually start reading the giant Avengers crossover, the Crossing!  This episode we touch on Iron Man 319-320 and Force Works 16, but spend most of our time going in-depth on Avengers: The Crossing, the special issue that truly kicks everything off!

With Remso on the mend, Marc gives SPC listeners a peak behind the Patreon curtain as he dishes out a sampling of the last few weeks of Patreon-only episodes. Hear Marc delve into Alan Moore's Image runs on WildCATS and Supreme! Listen to Remso and Jeffrey wade through 90s Marvel books ForceWorks! And join Marc as he journeys through Savage Dragon!Be sure to subscribe to the Second Print Comics Podcast on YouTube to see the whole episode, and join the Second Print Comics Podcast on Patreon to get episodes like these LIVE as they happen! You'll also receive access to TONS of bonus content and perks, including early episode releases and original shows like , Moore To the Story, The Savage Dragon Catch-Up Podcast, Thunderstruck! (The World's Only Thunderstrike Podcast), Unforced Works (The Force Works podcast), Remso Rants, the newly acquired Degenerate Panel and so much more, all for a measly $5 per month! At higher levels, you can get hand-selected hardcover graphic novels delivered to your door, or even produce an episode of the show!Support this podcast at — https://redcircle.com/second-print-comics-podcast/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

With the second annual Microsoft Power Platform Conference (MPPC 2023) now over, Microsoft MVPs Steve Mordue and Asif Rehmani joined us to review their experiences and observations at the event. Microsoft had positive numbers to share on growth in both customers and community, but it was the company's messaging on Copilot overpowered other announcements at the event. Nevertheless, attendees and community presenters were at the show to talk about a whole lot more than the latest AI hype. Steve and Asif tell us about some of the sessions and themes they took note of in areas including governance, security, DevOps, data management, updates to Fabric, and more. And they share their views on the balance Microsoft is trying to strike between splashy AI headlines and less exciting foundational improvements across the platform.   More from Asif Rehmani: LinkedIn: https://www.linkedin.com/in/asifrehmani/ VisualSP.com   More from Steve Mordue: LinkedIn: https://www.linkedin.com/in/stevemordue/ SteveMordue.com Forceworks.com

This is it....the last issue of the Avengers West Coast!  And we have a new writing team for this last issue!  That seems odd.  We'll discuss how the book goes out, then talk a little about the series as a whole and even chat about the book that is replacing this comic, Force Works!  It's a milestone for the Avengers!

This episode is sponsored by Forceworks.   Microsoft has revealed a broad range of plans to bring generative AI to businesses. The Copilot brand now spans productivity tools, collaboration, and business applications, and their Azure OpenAI Service  will offer any developer new ways to incorporate the technology into their own offerings.   Our guest, Microsoft MVP and Forceworks CEO Steve Mordue, has been thinking about the impact AI will have on some of today's conventional wisdom around developers and applications. He wrote about Microsoft's vision for building a massive population of no-code/low-code citizen developers and why that could be as unrealistic as the myth of the so-called full-stack developer. Microsoft's Copilot investments could expose the weak points in how customers use Power Platform or how they customize their business applications more broadly, Steve says. He even offers a few guesses at what could come next as Microsoft and others in the generative AI market accelerate their efforts.   Show Notes: 1:00 - Did the velocity of ChatGPT's uptake surprise Microsoft 3:00 - The challenge of making generative AI useful and not generic 4:30 - Roles that AI will impact heavily, according to Microsoft executives 6:30 - The value of AI tools for end users compared to developers 9:00 - Has no-code-low-code and the push for more citizen developers helped Microsoft customers? 13:30 - Foreceworks's progress on their services as a subscription model 16:30 - What could come next in the generative AI space at Microsoft and with competitors   References: The Forceworks subscription model Steve's blog post: The Myth of the Full Stack Developer

Marvel Tales Ep #16: Avengers - The Crossing Part 3 Welcome back to Marvel Tales! In this episode, Phil and Justin review part 3 of one of the most controversial Avengers storylines ever, “The Crossing" from War Machine #21, Iron Man #323, Avengers #393, Force Works #19, War Machine #22, Iron Man #324 and Force Works #20 (December 1995-February 1996) featuring Iron Man and the forces of Kang the Conqueror vs the Avengers in their darkest hour as Tony Stark adds another innocent to his murder count. Tune in today and don't forget to review the show on Apple Podcasts, Spotify, YouTube, and anywhere else you can!    Marvel Tales Links  → Twitter http://www.twitter.com/MarvelTalesPod → Instagram https://www.instagram.com/capeslunatics/ → Facebook facebook.com/MarvelTalesPod → YouTube https://www.youtube.com/c/CapesandLunatics ==================

Marvel Tales Ep #15: Avengers - The Crossing Part 2 Welcome back to Marvel Tales! In this episode, Phil and Justin review part 2 of one of the most controversial Avengers storylines ever, “The Crossing" from Iron Man #321, Force Works #17, Avengers #392, War Machine #20, Iron Man #322, and Force Works #18 (October-December 1995). Featuring threats closing in on Tony Stark from without and within, Hawkeye framed for murder, and War Machine enters the fray. Tune in today and don't forget to review the show on Apple Podcasts, Spotify, YouTube, and anywhere else you can!  Marvel Tales Links  → Twitter http://www.twitter.com/MarvelTalesPod → Instagram https://www.instagram.com/capeslunatics/ → Facebook facebook.com/MarvelTalesPod → YouTube https://www.youtube.com/c/CapesandLunatics ==================

Marvel Tales Ep #14: Avengers - The Crossing Part 1 Welcome back to Marvel Tales! In this episode, Phil and Justin review part 1 of one of the most controversial Avengers storylines ever, “The Crossing" from Avengers #390, Iron Man #319, Avengers: The Crossing #1, Force Works #16, Iron Man #320 and Avengers #391 (September & October 1995). Featuring mystery villains and a murder conspiracy perpetrated by one of the Avengers. Tune in today and don't forget to review the show on Apple Podcasts, Spotify, YouTube, and anywhere else you can!    Marvel Tales Links  → Twitter http://www.twitter.com/MarvelTalesPod → Instagram https://www.instagram.com/capeslunatics/ → Facebook facebook.com/MarvelTalesPod → YouTube https://www.youtube.com/c/CapesandLunatics ==================

Rob Anspach interviews modern day Jedi and author Jay H Tepley on the Light Watch Chronicles, Ariya Creed, Quantum Soup, State of Flow and Blueprint for Life. The post Ep 221 – How The Force Works first appeared on Rob Anspach's E-Heroes.

Join Mike and Rob as they discuss Scary Movies, Marvel Team-up #94, Peter Parker: Spider-man #20-21, Forceworks #1, Amazing Spider-man #20-21, House of Secrets #129

A motivational meeting, some excellent animated action, a prison factory in Andor, and more! Here's what happens: Luke and Eric actually met up in person for a change. Somehow Eric got drawn back to the dark side in Who Got What. Tales of the Jedi was neat. In shocking news, Cassian is in prison in Andor. WE HAVE MERCH! You can get t-shirts and the like at TeePublic.com and Redbubble.com. Dig the show? Support our podcast on Patreon! Go to patreon.com/thebadmotivators to find out more. Thanks for being awesome. A big thank you Xurxo (@laseraw) for the killer artwork! Our friend Chris Hall (@chrishallartist) is the genius behind some of our best designs. Check his work out at Black Sheep Rebellion and buy some stuff. Help us out! Consider leaving us a 5-star review on iTunes! Robbo said you should. Follow us on Instagram: @badmotivators Follow us on Twitter! The Bad Motivators: @bad_motivatorsEric Strothers: @ericstrothers Check us out Twitch!Luke: @super_cruserEric: @MouseRat2217

In the 288th episode of ToonCast TFG1Mike returns with a longtime collaborator Eduardo M. Freyre, this time it's more 90s Marvel Superhero Cartoons! They revisit Iron Man 1994, as it has only ever been covered in one other multifaceted episode. They talk about the animation, the stories, the voice acting, and more! We are ALL TOONS ALL THE TIME here at ToonCast!! UNLEASH THE TOON IN YOU!

Back in May, I wrote a post describing a completely new Services model we call "The Works from Forceworks". It is a Services-as-a-Subscription model that is unique in the industry. I also promised to follow up with our learnings from this new model, so today I will do just that. The Works First, I'll remind you of what the offer is. Thanks to advances in low-code/no-code for Dynamics 365 and the Power Platform we decided it was finally time to launch a completely new services model. An all-inclusive, unlimited service that included not just support, but also deployments and customizations, along with several other things. You can see what we included here. Based on our analysis of recent customer history, "The Works" will cover 100% of the requirements for about 90% of the customers. How's it Going? Customers are eating it up. Almost all of our existing customers have converted. I am thinking we may have left some money on the table. But now is not the time to maximize the revenue, rather now is the time to flesh this out. We wanted this to be as "turn-key" as possible starting with getting a quote that can be done right on the website. This meant "standardizing" the pricing. Today there is a Fixed Base cost, plus an additional fixed cost for certain combinations, like Dynamics for Marketing for example, and then a Per User cost. Part of the thinking was that the number of users would be a good measure of the work our team would need to perform. But in reality, while a good general rule, there are exceptions. For example, a simple deployment with basic needs, but a large number of users, versus a highly complex deployment with only a handful of users. For the former, the price is too high and for the latter, the price is too low. We are still thinking about the best solution to this. Pro-Active Almost all services offered by Partners to Customers are "reactive", responding to customer requests. This makes sense in an hourly model as it is not the Partner's job to decide how to spend the customer's money. But in an unlimited subscription model, we are able to be "pro-active" since it does not affect the customers' cost. A simple example may be once a week checking to see if all Flows are running properly or checking capacity. One of the primary differences in a Subscription model is that it is very important that the customer renews at the end of the term. Customers will scrutinize that monthly charge and compare the value they received each month. If at renewal time, they didn't see the value, they will not renew. Over a twelve-month term there will be months that are more active than others. But you cannot allow a month to go by with no activity, and this is where pro-active services fill the gaps. We are continuing to add to the list of things that we can do pro-actively to bring value and building tools to try and automate that as much as possible. User Support We were initially thinking this might be a big item, and for some it is. We had this idea that all users would be added to a Team or Distribution List that our team were also members of to communicate and resolve issues. Some customers loved the idea and added all users. Others preferred to keep that group small. We built a solution that we install on each customer environment that adds a life ring icon in the top navigation. This opens a form modal where a user can report an error, ask a question or suggest an improvement which via Flow is added to the Team or Distribution list. I am pretty happy with the result having seen many improvement ideas coming directly from the trenches. Deployments The service includes unlimited deployments. This was a dicey one, but I insisted that we include it. The easiest thing to do is to specifically exclude things from an unlimited service to reduce your risk. But you would quickly get to a point were "Unlimited" did not mean anything. This is also a key point at which an unlimited service makes extra sense. For a deployment month, you know your needs will be higher than usual. When comparing to hours you could easily spend as much in a deployment month than the entire annual subscription cost. We have not been doing this that long, but I can already see that we will go underwater during deployment months for a customer. Fortunately, deployments do not happen very often. Customizations This service also includes unlimited customizations, and by extension, to do those properly, unlimited Solution Architecting. If low-code/no-code were not where it is today, this would not be feasible. Where deployments are typically a one-time big bang, customizations are continuous. Although the amount varies from month to month. So far this is averaging out okay. Exclusions We tried really hard to include as much as possible on an unlimited basis, but developers are expensive, and development can often take a lot of time. So "development" is excluded and offered on our traditional hours model. This is the one area that some customers get suspicious about. Looking for the "gotcha" they expect that every time they ask for anything we will cry "development". But again, tracking with our earlier research, many customers never hear the word "development". It does seem that the more sophisticated the customer the more they look for sophisticated solutions which can often require some development. There is some grey area here and we are likely to do something one-off that might meet the technical definition of development within the service rather than bring up the need for development hours, because again the goal is renewal. Are We Making Money Yet? It is still too early to tell, but probably not. However, this is not unusual for a new subscription service as it builds scale. We are also still building the tooling to make this more efficient. As of now, we do have one customer that I can see we will consistently lose money on every month. This is the reason I added the right for us to terminate for any reason in our Terms and Conditions. We still need to figure out the best way to handle that. Summary Was this a good idea? I was not sure when we launched this, but now I can see it was indeed a good idea. There is a tipping point of profitability based on the number of subscribers that we have not reached yet, but I am confident that we will. My next update will be when we reach that tipping point, hopefully in the not too distant future.

The Microsoft Business Applications product line's new look is starting to come into focus under the leadership of CVP Charles Lamanna. In a recent conversation with Microsoft MVP Steve Mordue, Lamanna discussed some of his team's recent work, its successes, and future challenges. Lamanna's upward rise at Microsoft started in the Power Platform team, but he now represents the Dynamics 365 lineup, too.   Mordue discusses his impressions after talking with Lamanna this time (it was the fourth interview they've done over the years) and how both Microsoft's product and channel plans have impacted the community, including Mordue's own business decisions related to RapidStart CRM and Forceworks.   Show Notes: 6:30 - Could Power Platform really help upsell Dynamics 365 apps? 12:30 - Viva Sales and the Biz Apps R&D team's involvement 15:30 - Why enthusiasm from Charles Lamanna is likely to be followed by real progress 20:00 - Some Nuance R&D is now under the Biz Apps umbrella 22:45 - Microsoft's much improved acquisition strategy for business apps 25:30 - Reviewing the D365 product management leaders 29:00 - Are Steve's new clients starting with an interest in an app or in the platform? 31:30 - Adapting services offerings for low code development 38:15 - Changing customer perceptions on the idea of continuous development vs discrete start and end dates 40:00 - Making sense of the channel outlook from Partner Economics as it relates to Power Platform opportunities 44:00 - Differences in the new generation of buyers 45:30 - Why Steve's firm transitioned to offering a free app on Power Platform with a subscription services model 49:45 - How will partners prove their worth with a new generation of customers? 52:00 - Thinking about the future of the partner business model

Tonight's show brings about a special guest with Cory Heald from Brew Squadron joining the team for this episode.  The team covers the recent UK X Wing Open and reviews the different lists that have made an appearance.  This will lead into a discussion on the new points and understanding the difference and relevance of ship points verses load out points.  They review  how the a ships native ability can allow it to be powerful without the need for many loadout points.  With the recent changes to how the ships are costed, it is important to review this to help understand where list building can now be changed to find the best ship combos.     Join us on https://www.twitch.tv/planningphasesyndicate live every Sunday night at 9pm est.   UK Open Document https://docs.google.com/document/d/16zzQWfO48pn61MRNW3Y5DtKnntye4NK1Yi0-KNhPxks/edit https://tabletop.to/star-wars-xwing-2022-world-open-qualifier-at-uk-games-expo/ladder?fbclid=IwAR3bM7LjLln1nicfIo71c0e6_Sr_oWJSFAiRCxXMr2qaV_dZZyYGe5alFVY&fs=e&s=cl   Links --------- Youtube: https://www.youtube.com/channel/UCRX-7c7R0_FlTZZ2Vtdi_9Q Willow Links: https://wlo.link/@planningphasesyndicate Facebook: https://www.facebook.com/Planning-Phase-Syndicate-102792741982012 Twitch: https://www.twitch.tv/planningphasesyndicate Patreon: https://www.patreon.com/PlanningPhaseSyndicate Discord: https://discord.gg/eqxnTxDFAr Podcast: https://planningphasesyndicate.podbean.com  Paypal:  https://paypal.me/ppsyndicate

Kam and Justin have finished watching the Star Wars sequels, which had a promising, if contrived, beginning. Today the boys get into The Last Jedi, which is nowhere near as bad as many claim. After that they talk about (and around) Rise of Skywalker, which is as bad, (and maybe even much worse) than many claim. Foiled Again: https://twitter.com/FoiledAgainCast Kamon Cruz: https://twitter.com/KDotCruz Justin Reece: https://twitter.com/KyloReece --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

In my 20-plus years in this CRM business, I have seen my share of "Funnels". Lead Funnels, Sales Funnels, Delivery Funnels, every kind of business-related funnel you can think of, I have probably seen it. From what I have witnessed, most businesses have no idea how to use them effectively. So, let's talk about Funnels. The Numbers Game One of the most significant areas I see where customers are consistently missing the mark is in their Sales Funnels. While at the same time tripling their investment in Lead Funnels. The logic seems to go like this; if we currently convert 5% of our Leads into Sales, we just need 10X more Leads. As if somehow, by dramatically increasing the size of a pile of crap, the smell will improve. But, logical as their argument may be, the math does not hold up in execution. If your sales process is working as hard as possible to convert 5% of your Leads, multiplying what gets thrown into that process by ten will not result in a 10X sales increase; more likely, your conversion rate will plummet. And, by the way, multiplying your leads by ten is not cheap or easy to do either. Fixing the Right Problem Don't get me wrong; Leads are vitally important to any business. But creating a waterfall that you are only capturing a bucket from is more than a waste of money and energy; it could actually be hurting you. If 95% of your Leads are not buying, then something is broken, and shoving more people down a broken path is like shooting a bullet into the head of each of those missed opportunities because they are now dead forever. Today you seldom get a second chance. What is a Healthy Conversion Rate? That depends on many factors, varies widely by industry, and actually starts with your Lead Funnel. Wide funnels will capture a large number of non-prospects. Why do they click or call when they are not valid candidates? Who knows, boredom, bots, etc.? Either way, they are a waste of your resources. This is a common technique employed by many marketing/SEO agencies, creating a wide funnel so they can point to how many leads they generated to justify the continuation of their services. But the number is not important if you only convert a small percentage of them. There are three possible reasons that you are not converting more. Either a) your value proposition is crap, b) your leads are the wrong people, c) your sales funnel sucks, or a combination of these. Your Value Proposition Your perception of your Value Proposition is irrelevant, it is something seen through the eyes of your Prospects, and even highly qualified Prospects will each view it differently. How hard is it to sell your product or services to a qualified lead? If it is too hard, there is something wrong with your value proposition. If it is too easy... there is also something wrong with your value proposition. I am not a buyer of whatever you sell, so having the right value proposition is on you to figure out. Your Leads are the Wrong People Congratulations, if how much money you throw away was the measure... you're winning! Unfortunately, no amount of unqualified Leads will fix a Conversion problem; instead, it compounds it. This leads us to the real issue. Your Sales Funnel Sucks The good news is that you are not alone; the bad news is that you are failing to convert 95% of your leads. Effective Sales Funnels are elusive things. This is probably why so much money is shoveled into increasingly wider lead funnels in an attempt to overcome the real problem, but it just masks it at best. Too many people think that their Lead Funnel IS their Sales Funnel, which means they are missing a Funnel. In most businesses, Marketing, whose job is to create leads, and Sales, whose job is to close them, are related but completely different things. Sure, one thing "should" feed into the other, but the skill to get someone to click on a Google ad, for example, is a different skill than getting that someone to buy. But they are directly related in that the person creating the leads can make the conversion of that lead easier or harder depending on their skill. For most B2B and many B2C organizations, a seller will take over at some point, and a "Sales Funnel" will ensue even if it does not actually exist. Suppose you don't have an official Sales Funnel that has been thoughtfully developed. In that case, you actually have a unique unofficial funnel for each salesperson based on their personal knowledge, skill, and history. This is also why you see such a wide disparity of close ratios across your sales team. Building a Sales Funnel First, do you need a CRM to have a Sales Funnel? A Sales Funnel, like a Lead Funnel, will need some steps. Too many people try and skip having any steps other than "get the prospect on the phone a close them!". But the 1960s are ancient history, and selling today requires more sophistication and finesse. Just getting that prospect on the phone is no easy task now. A logical, systematic process will generate much higher success, and modern CRM solutions are purpose-built for this. If you feel like CRM solutions are too expensive or complicated, you can check out RapidStart CRM to build your Sales Funnel. It is possible to build a Sales Funnel by mirroring the steps and process of your star sellers unless all you have are mediocre sellers. Either way, a good Sales Funnel should start before the Lead Funnel ends. To be proactive, you have to know what is coming, what context they are coming in from, and what they have already been informed of before their arrival in your Sales Funnel. CRM solutions can also be utilized to build and track Lead Funnels, making this visibility much easier. Reactive Sales Funnels always have lower success. A good Sales Funnel can make both your stars and your mediocre sellers better. Automation You may have heard the terms "Sales Enablement" or "Sales Automation"; they are popping up a lot lately. A Sales Funnel is also at the center of these, and varying "Automation" is layered over the Funnel. Applying "Automation" to steps where it makes sense throughout your Sales process can accomplish many things. Among these is a consistency of process. Once you have a working Funnel that generates successful outcomes, you will want to replicate that motion consistently, and nothing is more consistent than automation. Automation is also "instant", so your process commences immediately when triggered, which is something many customers seem to like. Automation can also multiply the capacity of an existing team, meaning you may not need to hire, and you may be able to shed some dead weight. You have to be certain that your Sales Funnel works before you automate it, or you could automate yourself right out of business. Summary Funnels are not generic, although my advice here is. Effective Funnels will be unique to every business, so, unfortunately, I can't provide a step-by-step guide in a blog post that would do much good for you. If I tried, it would not be the proper Funnel for you and could cause more harm than good. But, a firm that builds Sales Funnels all the time, like my company, Forceworks, can help you if you need it.  

About seven years ago we pioneered the "Support by Blocks" model, and it has served our Forceworks clients and us well. But thanks to Microsoft, it is time for a whole new model for Dynamics 365 and Power Platform Support and Services. Let's unpack this one. The Challenge Let's be honest, no business application you can buy will serve your needs as delivered. Any of them will require some modifications to fit your goals. Fortunately, you have many Microsoft Business Applications partners to assist you with this, including my company Forceworks. This is not new; customizing business applications has been around as long as business applications have been around. For a small organization, you may only have to invest a few bucks to get things where you want; enterprise customers often invest six or seven figures to get things right. It is not a small industry that I am in. It is precisely this high cost that has led Microsoft to invest so much into low-no-code technologies. How many more customers could Microsoft have if this "startup cost" was significantly reduced? More on that in a minute. Models There are quite a few engagement models available from different partners. The old "Fixed-Price based on your Requirements" has fallen out of favor, and for good reasons. Scope creep is a common one, but customers, thinking that competitive bidding got them the best price were often surprised at how much the bids came in at—typically ranging from 25-50% higher than what Time and Materials may have cost. Partner risk padding has probably run off many customers, But as I said, few partners even offer this model today. The most prevalent model is the Time and Materials model, which may be based on an estimate. But Scope Creep rears its head just as often there, the difference being that the customer assumes the risk. Still, this usually works out cheaper than what a "Risk-Adjusted" Fixed Price would have been. Blocks Several years ago, we pioneered a variation on the Time and Materials model called "Support by Blocks". In that model, the customer pre-purchased blocks of time, like 80 hours, for example, for a single blended rate that was discounted for their pre-payment. These hours would be consumed by anyone on our team, developers, analysts, consultants, etc., to meet customer requests until the block was depleted. It was a better model for both the customer and us than traditional Time and Materials and has served us well for many years. The downside was that some customers became too focused on the hours, often hoarding them to stave off having to buy more. This also meant that they would never reach the full potential of what these solutions could achieve for them. It was understandable but frustrating for me to know what "could be". It often triggered their "we'll take it from here" reflex when a block was depleted. This always meant the end of the line for any hope of exploiting the full potential for their business. They were obliviously missing out on dollars to save pennies. Is it Time? I have had this idea in my head for many years about an "All-You-Can-Eat" subscription model to eliminate scope and hours from the equation. But to not go broke, you would have to either charge an astronomical amount or exclude the development work. And each time I had looked in the past, there was still way too much development work, relegating any Subscription to just Support. But in the meantime, Microsoft has continued to advance the low-no-code platform, and I was noticing the utilization of our code-writing developers was falling, and developers are some of the highest paid people in a partner organization. To confirm my thinking, we analyzed our customers over the last 18 months, and sure enough, the level of actual code development had continued to drop. In fact, in the previous 12 months, less than five percent of our customers needed any actual code development at all. Bingo! "The Works from Forceworks" I could not wait to take this new information and finally build the model I had been thinking about for years... so I did. "The Works" is that all-inclusive model with unlimited everything except code. One challenge is making sure a prospective customer understands what "Code" means. They seem to feel that anything they could not figure out themselves must be "Code" and fear that anytime they open their mouth, the "Code Alarm" will go off. But our analysis says that is not the case. And frankly, the way you make money on a "Service as a Subscription" is over time, so renewals are far more important than some quick buck made from the code alarm. If that "Code Alarm" goes off too often, or possibly even once, the renewal is at risk. Again, this model would not have been viable even two years ago, so I have to give Microsoft a big hug. The Big Gulp A model like this is not without its risks for us. For one thing, our primary competition was not other partners but rather customers thinking about hiring someone internally. While these people are not easy to find, the thought that they could be found limits what a customer would pay, and it would have to be less than an internal salary. We went with an extensive list of unlimited services, starting from and including deployment(s). There were some heated conversations internally about what could be realistically offered on an unlimited basis for a fixed monthly cost. Still, I pushed for the max, and I happen to own the company. The service does have a one-year term to prevent someone from maxing out capacity in the first month and then canceling. Resellers To work financially, we need scale in both customers and people for a model like this. We had dabbled with some resellers with our "Support by Blocks" model, but I was not happy with the results, both for us and the end customers. Adding a third party in the middle created conflicts. But this new model is perfect for resellers, who are all looking for a recurring revenue component that they can bolt onto their existing billing arrangements with their customers. And since it is "scopeless" and "unlimited", there really is no reason for conflicts. Summary It is early days, but we have already transitioned most of our current customers to this new model and have started onboarding new ones. So, the customer verdict seems to be in on the value proposition. I expect to be underwater for a while financially as we scale up, but I was prepared for that. I am "Betting the Farm" as they say. We are firmly planted in the battle for the limited talent, but even those folks seem to like this model, so I am not too worried about that. In fact, I have another idea for that, but I will let you in on that a little later :) Those of you who know me know that I am not afraid to try new business models, and so far, each one has been better than the last, and I feel stronger about this one than any other. Wish me luck!  

I've heard this term bandied about for many years now, "Single Version of the Truth". As Jack Nicholson once said, "You can't handle the Truth!" I would paraphrase that as, "You can't afford a Single version of the Truth, and you wouldn't want it anyway!". So, let's see how many of you I can get to agree on this one :). What is Implied? From a business standpoint, "Single Version of the Truth" or SVT, is often pimped as this utopian idea that all of your data, about everything to do with your customers and your business is in one place. providing the coveted 360-degree customer view. First, no such Utopian application can be subscribed to from anyone on this planet today. However, you can subscribe to several applications and potentially spend an enormous sum of money and time to wire them all together, giving the illusion of a SVT. While some of you might be sad to hear that SVT is not "push-button", I will try to cheer you up by saying you would not want it anyway. Silos are Bad! Yes, if you read back on my blog, you will see me also preaching that data silos are bad. In fact, I used the same post image for this post. But that was then, and this is now. Back in the days before the Power Platform, when all we had was Dynamics 365, we also sang Microsoft's tune of the time that "You want all of your data in one place", meaning in a Dynamics 365 database. This was a strong argument for a customer who was considering multiple point solutions made by vendors other than Microsoft. And we had a great deal of success consolidating those multiple point solutions under a single Dynamics 365 umbrella. But to call that a SVT was a stretch. Maybe "Fewer Versions of the Truth" with a 245-degree view of the customer was a more realistic goal, as that was typically the outcome. Dynamics Silos Even under the Dynamics 365 brand there were, and still are, silos. Dynamics 365 Sales runs on top of Dataverse, while Dynamics 365 Business Central or Dynamics 365 Finance run on their own databases. Dual-write is an ongoing effort to create the SVT illusion. Power Platform The Power Platform arrived and blew up the whole concept of SVT. Even Microsoft started singing a different tune, promoting their Center of Excellence "COE", so you could more easily manage the possibly thousands of environments (aka Data Silos) that users could now create in your enterprise tenant. So, is SVT dead? The problem was never with "Point Solutions" and their siloed data, it was with "Point Solutions" and silos from other vendors. With the Power Platform, Microsoft created a rocket engine to crank out "Point Solutions"... but these would be "inside the wall". Silos are Good! So now let me be my own devil's advocate. I will take our own organization, Forceworks for example. The Sales side of our business watches over AppSource prospects and website prospects etc. You can probably imagine that with over 50K users of our RapidStartCRM app, that means there were way more prospects than that, who did not move forward. So, we have thousands of prospects and most of these will never amount to anything, of course. Not unlike any other business where the number of prospects is typically exponentially higher than the number of actual customers. The Services side of our business works with our actual customers, not every RapidStartCRM user becomes a customer. Our customers are organizations who have engaged us to support or customize not only RapidStartCRM, but also Dynamics 365 or anything Power Platform related. So, our Service database is a fraction of the size of our Sales database. In our case, Sales runs on a customized version of RapidStartCRM in one environment, and Service runs on another customized version of RapidStartCRM in another environment. The rationale? Why should the service team have to navigate around thousands of irrelevant records?  If they are not customers, they don't need to be in the Service silo. But what about Synchronization! Much of "Synchronization" is unnecessary hype. Yet many organizations pay us tons of money to try to achieve it. Flow can handle 90% of what is actually useful. For example, when a prospect in our Sales solution becomes a customer, a simple flow creates the record in the Service solution. If a service customer asks about a new app or service, a simple flow in the service app updates the record in the Sales solution. Unintended Consequences If you have not yet built a flow that acted beyond the scope of what you intended... you have not bult enough flows. Both of our environments have multiple flows, many quite complex, automating a bunch of things. Were all of these in a single environment, the chances of a Service flow accidently scooping in some Sales records for example is much higher. So, flow development becomes much more complex. But what about my 360-degree view of the Customer? Let's face it, you are not going to get around the fact that you will have multiple sources of data. At least with Microsoft, it is possible to have all of those data sources under one roof, which I do not believe can be provided by any other company today. If you really want that 360-degree view, yet another application can give you that, Power BI (Microsoft's Business Intelligence app). Power BI can not only connect, munge together and regurgitate beautiful charts and graphs using data from all of your Microsoft sources, it can bring in most of your external data sources as well. I would still argue that the "360-Degree view" is over-rated, the only positions that might actually need that are very high senior management, and we all know they don't look at data anyway... unless it supports a personal agenda. So that's my take on this. If you are looking to shovel money to someone in pursuit of this dream, hit me up. Or if you just want business applications that "work" for your business, you can also hit me up. Feel free to leave any comment you like, as long as it supports my personal agenda, I am a CEO after all :)  

Marvel comics of 1994: Dave, Zack and Charlotte talk Peter David’s Incredible Hulk (with Rick Jones’ Bachelor Party and Wedding!), Iron Man debuting his Hulkbuster armor, and the launch of Force Works. On this episode we cover the following issues (all available via Marvel Unlimited): Incredible Hulk #417 to #420 Just wait for the Vision […] The post 1994 Pt. 3: Rick Jones’ Bachelor Party, Hulkbuster Armor, & Force Works! appeared first on Comic Book Herald.

It's a Holiday Treasury Edition of Marvel Noise as Jim Whiting joins Steve to unwrap a selection of holiday issues from past years featuring the X-Men, Spider-Man, and more! Then Steve, wwxKevin and Andrew the LArabbit continue the grab bag with The Thing & The Ghost Rider, Daredevil, the X-Men, Spider-Man, and Force Works!?!?! #MN380 […]

It's a Holiday Treasury Edition of Marvel Noise as Jim Whiting joins Steve to unwrap a selection of holiday issues from past years featuring the X-Men, Spider-Man, and more! Then Steve, wwxKevin and Andrew the LArabbit continue the grab bag with The Thing & The Ghost Rider, Daredevil, the X-Men, Spider-Man, and Force Works!?!?! #MN380 […]

It's a Holiday Treasury Edition of Marvel Noise as Jim Whiting joins Steve to unwrap a selection of holiday issues from past years featuring the X-Men, Spider-Man, and more! Then Steve, wwxKevin and Andrew the LArabbit continue the grab bag with The Thing & The Ghost Rider, Daredevil, the X-Men, Spider-Man, and Force Works!?!?! #MN380 […]

Happy Halloween! We're joined by comics scribe Daniel "D.G." Chichester to talk about the history of horror comics, Marvel's return to the genre in the early 1990s, and the macabre anti-hero Terror (whom Chichester co-created).  ----more---- Issue 18 Transcript   Mike: [00:00:00] It's small, but feisty, Mike: Welcome to Tencent Takes, the podcast where we dig up comic book characters' graves and misappropriate the bodies, one issue at a time. My name is Mike Thompson, and I am joined by my cohost, the Titan of terror herself, Jessika Frazer. Jessika: It is I. Mike: Today, we are extremely fortunate to have comics writer, Daniel, DG Chichester. Dan: Nice to see you both. Mike: Thank you so much for taking the time. You're actually our first official guest on the podcast. Dan: Wow. Okay. I'm going to take that as a good thing. That's great. Mike: Yeah. Well, if you're new to the show, the purpose of our [00:01:00] podcast as always is to look at the weirdest, silliest, coolest moments of comic books, and talk about them in ways that are fun and informative. In this case, we looking at also the spookiest moments, and how they're woven into the larger fabric of pop culture and history. Today, we're going to be talking about horror comics. We're looking at their overall history as well as their resurrection at Marvel in the early 1990s, and how it helped give birth to one of my favorite comic characters, an undead anti-hero who went by the name of Terror. Dan, before we started going down this road, could you tell us a little bit about your history in the comic book industry, and also where people can find you if they want to learn more about you and your work? Dan: Absolutely. At this point, people may not even know I had a history in comic books, but that's not true. Uh, I began at Marvel as an assistant in the mid-eighties while I was still going to film school and, semi quickly kind of graduated up, to a more official, [00:02:00] assistant editor position. Worked my way up through editorial, and then, segued into freelance writing primarily for, but also for DC and Dark Horse and worked on a lot of, semi-permanent titles, Daredevil's probably the best known of them. But I think I was right in the thick of a lot of what you're going to be talking about today in terms of horror comics, especially at Marvel, where I was fiercely interested in kind of getting that going. And I think pushed for certain things, and certainly pushed to be involved in those such as the Hellraiser and Nightbreed Clive Barker projects and Night Stalkers and, uh, and Terror Incorporated, which we're going to talk about. And wherever else I could get some spooky stuff going. And I continued on in that, heavily until about 96 / 97, when the big crash kind of happened, continued on through about 99 and then have not really been that actively involved since then. But folks can find out what I'm doing now, if they go to story maze.substack.com, where I have a weekly newsletter, which features [00:03:00] new fiction and some things that I think are pretty cool that are going on in storytelling, and also a bit of a retrospective of looking back at a lot of the work that I did. Mike: Awesome. Before we actually get started talking about horror comics, normally we talk about one cool thing that we have read or watched recently, but because this episode is going to be dropping right before Halloween, what is your favorite Halloween movie or comic book? Dan: I mean, movies are just terrific. And there's so many when I saw that question, especially in terms of horror and a lot of things immediately jumped to mind. The movie It Follows, the recent It movie, The Mist, Reanimator, are all big favorites. I like horror movies that really kind of get under your skin and horrify you, not just rack up a body count. But what I finally settled on as a favorite is probably John Carpenter's the Thing, which I just think is one of the gruesomest what is going to happen next? What the fuck is going to happen next?[00:04:00] And just utter dread. I mean, there's just so many things that combined for me on that one. And I think in terms of comics, I've recently become just a huge fan of, and I'm probably going to slaughter the name, but Junji Ito's work, the Japanese manga artist. And, Uzumaki, which is this manga, which is about just the bizarreness of this town, overwhelmed with spirals of all things. And if you have not read that, it is, it is the trippiest most unsettling thing I've read in, in a great long time. So happy Halloween with that one. Mike: So that would be mango, right? Dan: Yeah. Yeah. So you'd make sure you read it in the right order, or otherwise it's very confusing, so. Mike: Yeah, we actually, haven't talked a lot about manga on this. We probably should do a deep dive on it at some point. But, Jessika, how about you? Jessika: Well, I'm going to bring it down a little bit more silly because I've always been a fan of horror and the macabre and supernatural. So always grew up seeking creepy media as [00:05:00] a rule, but I also loves me some silliness. So the last three or so years, I've had a tradition of watching Hocus Pocus with my friend, Rob around Halloween time. And it's silly and it's not very heavy on the actual horror aspect, but it's fun. And it holds up surprisingly well. Mike: Yeah, we have all the Funkos of the Sanderson sisters in our house. Jessika: It's amazing watching it in HD, their costumes are so intricate and that really doesn't come across on, you know, old VHS or watching it on television back in the day. And it's just, it's so fun. How much, just time and effort it looks like they put into it, even though some of those details really weren't going to translate. Dan: How very cool. Mike: Yeah. Jessika: Yeah. So, but I also really like actual horror, so I'm also in the next couple of days is going to be a visiting the 1963 Haunting of Hill House because that's one of my favorites. Yeah. It's so good. And used to own the book that the movie was based on also. And seen all the [00:06:00] iterations and it's the same storyline the recent Haunting of Hill house is based on, which is great. That plot line has been reworked so many times, but it's such a great story, I'm just not shocked in the least that it would run through so many iterations and still be accepted by the public in each of its forms. Mike: Yeah. I really liked that Netflix interpretation of it, it was really good. Dan: They really creeped everything out. Mike: Yeah. There's a YouTuber called Lady Night, The Brave, and she does a really great summary breakdown explaining a lot of the themes and it's like almost two hours I think, of YouTube video, but she does these really lovely retrospectives. So, highly recommend you check that out. If you want to just think about that the Haunting of Hill House more. Jessika: Oh, I do. Yes. Mike: I'm going to split the difference between you two. When I was growing up, I was this very timid kid and the idea of horror just creeped me out. And so I avoided it like the plague. And then when I was in high [00:07:00] school, I had some friends show me some movies and I was like, these are great, why was I afraid of this stuff? And so I kind of dove all the way in. But my preferred genre is horror comedy. That is the one that you can always get me in on. And, I really love this movie from the mid-nineties called the Frighteners, which is a horror comedy starring Michael J. Fox, and it's directed by Peter Jackson. And it was written by Peter Jackson and his partner, Fran Walsh. And it was a few years before they, you know, went on to make a couple of movies based on this little known franchise called Lord of the Rings. But it's really wild. It's weird, and it's funny, and it has some genuine jump scare moments. And there's this really great ghost story at the core of it. And the special effects at the time were considered amazing and groundbreaking, but now they're kind of, you look at, and you're like, oh, that's, high-end CG, high-end in the mid-nineties. Okay. But [00:08:00] yeah, like I said, or comedies are my absolute favorite things to watch. That's why Cabin in the Woods always shows up in our horror rotation as well. Same with Tucker and Dale vs Evil. That's my bread and butter. With comic books, I go a little bit creepier. I think I talked about the Nice House on the Lake, that's the current series that I'm reading from DC that's genuinely creepy and really thoughtful and fun. And it's by James Tynion who also wrote Something That's Killing the Children. So those are excellent things to read if you're in the mood for a good horror comic. Dan: Great choice on the Frighteners. That's I think an unsung classic, that I'm going to think probably came out 10 years too early. Mike: Yeah. Dan: It's such a mashup of different, weird vibes, that it would probably do really, really well today. But at that point in time, it was just, what is this? You know? Cause it's, it's just cause the horrifying thing in it are really horrifying. And, uh, Gary Busey's son, right, plays the evil ghost and he is just trippy, off the wall, you know, horrifying. [00:09:00] Mike: Yeah. And it starts so silly, and then it kind of just continues to go creepier and creepier, and by the time that they do some of the twists revealing his, you know, his agent in the real world, it's a genuine twist. Like, I was really surprised the first time I saw it and I - Dan: Yeah. Mike: was so creeped out, but yeah. Dan: Plus it's got R. Lee Ermey as the army ghost, which is just incredible. So, Mike: Yeah. And, Chi McBride is in it, and, Jeffrey Combs. Dan: Oh, oh that's right, right. right. Mike: Yeah. So yeah, it's a lot of fun. Mike: All right. So, I suppose we should saunter into the graveyard, as it were, and start talking about the history of horror comics. So, Dan, obviously I know that you're familiar with horror comics, Dan: A little bit. Mike: Yeah. What about you, Jess? You familiar with horror comics other than what we've talked about in the show? Jessika: I started getting into it once you and I started, you know, talking more on the [00:10:00] show. And so I grabbed a few things. I haven't looked through all of them yet, but I picked up some older ones. I did just recently pick up, it'll be more of a, kind of a funny horror one, but they did a recent Elvira and Vincent Price. So, yeah, so I picked that up, but issue one of that. So it's sitting on my counter ready for me to read right now. Mike: Well, and that's funny, cause Elvira actually has a really long, storied history in comic books. Like she first appeared in kind of like the revival of House of Mystery that DC did. And then she had an eighties series that had over a hundred issues that had a bunch of now major names involved. And she's continued to have series like, you can go to our website and get autographed copies of her recent series from, I think Dynamite. Jessika: That's cool. Mike: Yeah. Jessika: Nice. Mike: Speaking of horror comedy Elvira is great. Jessika: Yes. Mike: I recently showed Sarah the Elvira Mistress of the Dark movie and she was, I think really sad that I hadn't showed it to her sooner. Jessika: [00:11:00] That's another one I need to go watch this week. Wow. Don't- nobody call me. I'm just watching movies all week. Dan: Exactly. Mike: It's on a bunch of different streaming services, I think right now. Well it turns out that horror comics, have pretty much been a part of the industry since it really became a proven medium. You know, it wasn't long after comics became a legit medium in their own, right that horror elements started showing up in superhero books, which like, I mean, it isn't too surprising. Like the 1930's was when we got the Universal classic movie monsters, so it makes a lot of sense that those kinds of characters would start crossing over into comic books, just to take advantage of that popularity. Jerry Siegel and Joel Schuster, the guys who created Superman, actually created the supernatural investigator called Dr. Occult in New Fun Comics three years before they brought Superman to life. And Dr. Occult still shows up in DC books. Like, he was a major character in the Books of Magic with Neil Gaiman. I think he may show up in Sandman later on. I can't remember. Jessika: Oh, okay. Dan: I wouldn't be surprised. Neil would find ways to mine that. [00:12:00] Mike: Yeah. I mean, that was a lot of what the Sandman was about, was taking advantage of kind of long forgotten characters that DC had had and weaving them into his narratives. And, if you're interested in that, we talk about that in our book club episodes, which we're currently going through every other episode. So the next episode after this is going to be the third episode of our book club, where we cover volumes five and six. So, horror comics though really started to pick up in the 1940s. There's multiple comic historians who say that the first ongoing horror series was Prized Comics, New Adventures of Frankenstein, which featured this updated take on the original story by Mary Shelley. It took place in America. The monster was named Frankenstein. He was immediately a terror. It's not great, but it's acknowledged as being really kind of the first ongoing horror story. And it's really not even that much of a horror story other than it featured Frankenstein's monster. But after that, a number of publishers started to put out adaptations of classic horror stories for awhile. So you had [00:13:00] Avon Publications making it official in 1946 with the comic Erie, which is based on the first real dedicated horror comic. Yeah. This is the original cover to Erie Comics. Number one, if you could paint us a word picture. Dan: Wow. This is high end stuff as it's coming through. Well it looks a lot like a Zine or something, you know it's got a very, Mac paint logo from 1990, you know, it's, it's your, your typical sort of like, ooh, I'm shaky kind of logo. That's Eerie Comics. There's a Nosferatu looking character. Who's coming down some stairs with the pale moon behind him. It, he's got a knife in his hand, so, you know, he's up to no good. And there is a femme fatale at the base of the stairs. She may have moved off of some train tracks to get here. And, uh, she's got a, uh, a low, cut dress, a lot of leg and the arms and the wrists are bound, but all this for only 10. cents. So, I think there's a, there's a bargain there.[00:14:00] Mike: That is an excellent description. Thank you. So, what's funny is that Erie at the time was the first, you know, official horror comic, really, but it only had one issue that came out and then it sort of vanished from sight. It came back with a new series that started with a new number one in the 1950s, but this was the proverbial, the shot that started the war. You know, we started seeing a ton of anthology series focusing on horror, like Adventures into the Unknown, which ran into the 1960s and then Amazing Mysteries and Marvel Tales were repurposed series for Marvel that they basically changed the name of existing series into these. And they started doing kind of macabre, weird stories. And then, we hit the 1950s. And the early part of the 1950s was when horror comics really seemed to take off and experienced this insane success. We've talked about how in the post-WWII America, superhero comics were kind of declining in [00:15:00] popularity. By the mid 1950s, only three heroes actually had their own books and that was Superman, Batman, and Wonder Woman. Which, I didn't realize that until I was doing research. I didn't, I just assumed that there were other superhero comics at the time. But we started seeing comics about horror and crime and romance really starting to get larger shares of the market. And then EC Comics was one of those doing gangbuster business during this whole era. Like, this was when we saw those iconic series, the Haunt of Fear, the Vault of Horror, the Crypt of Terror, which was eventually rebranded to Tales from the Crypt. Those all launched and they found major success. And then the bigger publishers were also getting in on this boom. During the first half of the 1950s Atlas, which eventually became Marvel, released almost 400 issues across 18 horror titles. And then American Comics Group released almost 125 issues between five different horror titles. Ace comics did almost a hundred issues between five titles. I'm curious. I'm gonna ask both of you, what [00:16:00] do you think the market share of horror comics was at the time? Dan: In terms of comics or in terms of just like newsstand, magazine, distribution. Mike: I'm going to say in terms of distribution. Dan: I mean, I know they were phenomenally successful. I would, be surprised if it was over 60%. Mike: Okay. How about. Jessika: Oh, goodness. Let's throw a number out. I'm going to say 65 just because I want to get close enough, but maybe bump it up just a little bit. This is a contest now. Dan: The precision now, like the 65. Jessika: Yes. Mike: Okay. Well, obviously we don't have like a hard definite number, but there was a 2009 article from reason magazine saying that horror books made up a quarter of all comics by 1953. So, so you guys were overestimating it, but it was still pretty substantial. At the same time, we were also seeing a surge in horror films. Like, the 1950s are known as the atomic age and media reflected [00:17:00] societal anxiety, at the possibility of nuclear war and to a lesser extent, white anxiety about societal changes. So this was the decade that gave us Invasion of the Body Snatchers The Thing from Another World, which led to John Carpenter's The Thing eventually. Um, and the Creature from the Black Lagoon. Hammer horror films also started to get really huge during this time. So we saw the beginning of stuff like Christopher Lee's, Dracula series of films. So the fifties were like a really good decade for horror, I feel. But at the same time, violent crime in America started to pick up around this period. And people really started focusing on juvenile criminals and what was driving them. So, there were a lot of theories about why this was going on and no one's ever really come up with a definite answer, but there was the psychiatrist named Frederick Wortham who Dan, I yeah. Dan: Oh yeah, psychiatrist in big air quotes, yeah. Mike: In quotes. Yeah. [00:18:00] Yeah. And he was convinced that the rise in crime was due to comics, and he spent years writing and speaking against them. He almost turned it into a cottage industry for himself. And this culminated in 1954, when he published a book called Seduction of the Innocent, that blamed comic books for the rise in juvenile delinquency, and his arguments are laughable. Like, I mean, there's just no way around it. Like you read this stuff and you can't help, but roll your eyes and chuckle. But, at the time comics were a relatively new medium, you know, and people really only associated them with kids. And his arguments were saying, oh, well, Wonder Woman was a lesbian because of her strength and independence, which these days, I feel like that actually has a little bit of credibility, but, like, I don't know. But I don't really feel like that's contributing to the delinquency of the youth. You know, and then he also said that Batman and Robin were in a homosexual relationship. And then my favorite was that Superman comics were [00:19:00] un-American and fascist. Dan: Well. Mike: All right. Dan: There's people who would argue that today. Mike: I mean, but yeah, and then he actually, he got attention because there were televised hearings with the Senate subcommittee on juvenile delinquency. I mean, honestly, every time I think about Seduction of the Innocent and how it led to the Comics Code Authority. I see the parallels with Tipper Gore's Parent Music Resource Center, and how they got the Parental Advisory sticker on certain music albums, or Joe Lieberman's hearings on video games in the 1990's and how that led to the Electronic Systems Reading Board system, you know, where you provide almost like movie ratings to video games. And Wortham also reminds me a lot of this guy named Jack Thompson, who was a lawyer in the nineties and aughts. And he was hell bent on proving a link between violent video games and school shootings. And he got a lot of media attention at the time until he was finally disbarred for his antics. But there was this [00:20:00] definite period where people were trying to link video games and violence. And, even though the statistics didn't back that up. And, I mean, I think about this a lot because I used to work in video games. I spent almost a decade working in the industry, but you know, it's that parallel of anytime there is a new form of media that is aimed at kids, it feels like there is a moral panic. Dan: Well, I think it goes back to what you were saying before about, you know, even as, as things change in society, you know, when people in society get at-risk, you know, you went to Invasion of the Body Snatchers, Right. Which is classically thought to be a response to communism, you know, and the feelings of communist oppression and you know, the different, you know, the other, and it's the same thing. I think every single one of these is just a proof point of if you want to become, suddenly well-known like Lieberman or Wortham or anything, you know, pick the other that the older generation doesn't really understand, right? Maybe now there are more adults playing video games, but it's probably still perceived as a more juvenile [00:21:00] thing or comics or juvenile thing, or certain types of movies are a juvenile thing, you know, pick the other pick on it, hold it up as the weaponized, you know, piece, and suddenly you're popular. And you've got a great flashpoint that other people can rally around and blame, as if one single thing is almost ever the cause of everything. And I always think it's interesting, you know, the EC Comics, you know, issues in terms of, um, Wortham's witch hunt, you know, the interesting thing about those is yet they were gruesome and they are gruesome in there, but they're also by and large, I don't know the other ones as well, but I know the EC Comics by and large are basically morality plays, you know, they're straight up morality plays in the sense that the bad guys get it in the end, almost every time, like they do something, they do some horrific thing, but then the corpse comes back to life and gets them, you know, so there's, there's always a comeuppance where the scales balance. But that was of course never going to be [00:22:00] an argument when somebody can hold up a picture of, you know, a skull, you know, lurching around, you know, chewing on the end trails of something. And then that became all that was talked about. Mike: Yeah, exactly. Well, I mean, spring boarding off of that, you know, worth them and the subcommittee hearings and all that, they led to the comics magazine association of America creating the Comics Code Authority. And this was basically in order to avoid government regulation. They said, no, no, no, we'll police ourselves so that you don't have to worry about this stuff. Which, I mean, again, that's what we did with the SRB. It was a response to that. We could avoid government censorship. So the code had a ton of requirements that each book had to meet in order to receive the Comics Code Seal of Approval on the cover. And one of the things you couldn't do was have quote, scenes dealing with, or instruments associated with walking dead or torture, which I mean,[00:23:00] okay. So the latter half of the 1950's saw a lot of these dedicated horror series, you know, basically being shut down or they drastically changed. This is, you know, the major publishers really freaked out. So Marvel and DC rebranded their major horror titles. They were more focused on suspense or mystery or Sci-Fi or superheroes in a couple of cases, independent publishers, didn't really have to worry about the seal for different reasons. Like, some of them were able to rely on the rep for publishing wholesome stuff like Dell or Gold Key. I think Gold Key at the time was doing a lot of the Disney books. So they just, they were like, whatever. Dan: Right, then EC, but, but EC had to shut down the whole line and then just became mad. Right? I mean, that's that was the transition at which William, you know, Gains - Mike: Yeah. Dan: basically couldn't contest what was going on. Couldn't survive the spotlight. You know, he testified famously at that hearing. But had to give up all of [00:24:00] that work that was phenomenally profitable for them. And then had to fall back to Mad Magazine, which of course worked out pretty well. Mike: Yeah, exactly. By the end of the 1960s, though, publishers started to kind of gently push back a little bit like, Warren publishing, and Erie publications, like really, they didn't give a shit. Like Warren launched a number of horror titles in the sixties, including Vampirilla, which is like, kind of, I feel it's sort of extreme in terms of both sex and horror, because I mean, we, we all know what Vampirilla his costume is. It hasn't changed in the 50, approximately 50 years that it's been out like. Dan: It's like, what can you do with dental floss, Right. When you were a vampire? I mean, that's basically like, she doesn't wear much. Mike: No, I mean, she never has. And then by the end of the sixties, Marvel and DC started to like kind of steer some of their books back towards the horror genre. Like how some Mystery was one of them where it, I think with issue 1 75, that was when they [00:25:00] took away, took it away from John Jones and dial H for Hero. And they were like, no, no, no, no. We're going to, we're going to bring, Cain back as the host and start telling horror morality plays again, which is what they were always doing. And this meant that the Comics Code Authority needed to update their code. So in 1971, they revised it to be a little bit more horror friendly. Jessika: Scenes dealing with, or instruments associated with, walking dead or torture shall not be used. Vampires, ghouls and werewolves shall be permitted to be used when handled in the classic traditions, such as Frankenstein, Dracula, and other high caliber literary works written by Edgar Allen Poe, Saki, Conan Doyle, and other respected authors whose works are read in schools around the world. Mike: But at this point, Marvel and DC really jumped back into the horror genre. This was when we started getting books, like the tomb of Dracula, Ghost Rider, where will finite and son of Satan, and then DC had a [00:26:00] bunch of their series like they had, what was it? So it was originally The Dark Mansion of Forbidden Love, and then it eventually got retitled to Forbidden Tales of the Dark Mansion. Like, just chef's kiss on that title. Dan: You can take that old Erie comic and throw, you know, the Dark Mansion of Forbidden Love as the title on that. And it would work, you know. Mike: I know. Right. So Dan, I'm curious, what is your favorite horror comic or comic character from this era? Dan: I would say, it was son of Satan, because it felt so trippy and forbidden, and I think comics have always, especially mainstream comics you know, I've always responded also to what's out there. Right. I don't think it's just a loosening the restrictions at that point, but in that error, what's going on, you're getting a lot of, I think the films of Race with the Devil and you're getting the Exorcist and you're getting, uh, the Omen, you know, Rosemary's baby. right. Satanism, [00:27:00] the devil, right. It's, it's high in pop culture. So true to form. You know, I think Son of Satan is in some ways, like a response of Marvel, you know, to that saying, let's glom onto this. And for a kid brought up in the Catholic church, there was a certain eeriness to this, ooh, we're reading about this. It's like, is it really going to be Satanism? And cause I was very nervous that we were not allowed even watch the Exorcist in our home, ever. You know, I didn't see the Exorcist until I was like out of high school. And I think also the character as he looks is just this really trippy look, right. At that point, if you're not familiar with the character, he's this buff dude, his hair flares up into horns, he just wears a Cape and he carries a giant trident, he's got a massive pentacle, I think a flaming pentacle, you know, etched in his chest. Um, he's ready to do business, ya know, in some strange form there. So for me, he was the one I glommed on to the most. [00:28:00] Mike: Yeah. Well, I mean, it was that whole era, it was just, it was Gothic horror brought back and Satanism and witchcraft is definitely a part of that genre. Dan: Sure. Mike: So, that said, kind of like any trend horror comics, you know, they have their rise and then they started to kind of fall out of popularity by the end of the seventies or the early eighties. I feel like it was a definite end of the era when both House of Mystery and Ghost Writer ended in 1983. But you know, there were still some individual books that were having success, but it just, it doesn't feel like Marvel did a lot with horror comics during the eighties. DC definitely had some luck with Alan Moore's run of the Swamp Thing. And then there was stuff like Hellblazer and Sandman. Which, as I mentioned, we're doing our book club episodes for, but also gave rise to Vertigo Comics, you know, in the early nineties. Not to say that horror comics still weren't a thing during this time, but it seems like the majority of them were coming from indie publishers. Off the top of my head, one example I think of still is Dead World, which basically created a zombie apocalypse [00:29:00] universe. And it started with Aero comics. It was created in the late eighties, and it's still going today. I think it's coming out from IDW now. But at the same time, it's not like American stopped enjoying horror stuff. Like this was the decade where we got Friday the 13th, Nightmare on Elm street, Evil Dead, Hellraiser, Poltergeist, Child's Play, just to name a few of the franchises that we were introduced to. And, I mentioned Hellraiser. I love Hellraiser, and Dan, I know that you have a pretty special connection to that brand. Dan: I do. I put pins in my face every night just to kind of keep my complexion, you know? Mike: So, let's transition over to the nineties and Marvel and let's start that off with Epic Comics. Epic started in the eighties, and it was basically a label that would print, create our own comics. And they eventually started to use label to produce, you know, in quotes, mature comics. So Wikipedia says that this was your first editorial job at Marvel was with the [00:30:00] Epic Line. Is that correct? Dan: Well, I'll go back and maybe do just a little correction on Epic's mission if you don't mind. Mike: Yeah, yeah. Dan: You know, first, which is it was always creator owned, and it did start as crude. And, but I don't think that ever then transitioned into more mature comics, sometimes that just was what creator-owned comics were. Right. That was just part of the mission. And so as a creator-owned imprint, it could be anything, it could be the silliest thing, it could be the most mature thing. So it was always, you know, part of what it was doing, and part of the mission of doing creator-owned comics, and Archie Goodwin was the editor in chief of that line, was really to give creators and in to Marvel. If we gave them a nice place to play with their properties, maybe they would want to go play in the mainstream Marvel. So you might get a creator who would never want to work for Marvel, for whatever reason, they would have a great Epic experience doing a range of things, and then they would go into this. So there was always levels of maturity and we always looked at it as very eclectic and challenging, you know, sometimes in a good [00:31:00] way. So I'll have to go back to Wikipedia and maybe correct them. My first job was actually, I was on the Marvel side and it was as the assistant to the assistant, to the editor in chief. So I would do all of the grunt work and the running around that the assistant to the editor in chief didn't want to do. And she would turn to me and say, Dan, you're going to go run around the city and find this thing for Jim Shooter. Now, then I did that for about five or six months, I was still in film school, and then left, which everyone was aghast, you don't leave Marvel comics, by choice. And, but I had, I was still in school. I had a summer job already sort of set up, and I left to go take that exciting summer job. And then I was called over the summer because there was an opening in the Epic line. And they want to know if I'd be interested in taking on this assistant editor's job. And I said, it would have to be part-time cause I still had a semester to finish in school, but they were intrigued and I was figuring, oh, well this is just kind of guaranteed job. [00:32:00] Never knowing it was going to become career-like, and so that was then sort of my second job. Mike: Awesome. So this is going to bring us to the character of Terror. So he was introduced as a character in the Shadow Line Saga, which was one of those mature comics, it was like a mature superhero universe. That took place in a few different series under the Epic imprint. There was Dr. Zero, there was St. George, and then there was Power Line. Right. Dan: That's correct, yep. Mike: And so the Shadow Line Saga took his name from the idea that there were these beings called Shadows, they were basically super powered immortal beings. And then Terror himself first appeared as Shrek. He's this weird looking enforcer for a crime family in St. George. And he becomes kind of a recurring nemesis for the main character. He's kind of like the street-level boss while it's hinting that there's going to be a eventual confrontation between the main character of St. George and Dr. Zero, who is kind of [00:33:00] a Superman character, but it turns out he has been manipulating humanity for, you know, millennia at this point. Dan: I think you've encapsulated it quite well. Mike: Well, thank you. So the Shadow Line Saga, that only lasted for about what a year or two? Dan: Probably a couple of years, maybe a little over. There was about, I believe, eight to nine issues of each of the, the main comics, the ones you just cited. And then we segued those over to, sort of, uh, an omni series we call Critical Mass, which brought together all three characters or storylines. And then try to tell this, excuse the pun, epic, you know story, which will advance them all. And so wrapped up a lot of loose ends and, um, you know, became quite involved now. Mike: Okay. Dan: It ran about seven or eight issues. Mike: Okay. Now a couple of years after Terror was introduced under the Epic label, Marvel introduced a new Ghost Rider series in 1990 that hit that sweet spot of like nineties extreme with a capital X and, and, you know, [00:34:00] it also gave us a spooky anti heroes like that Venn diagram, where it was like spooky and extreme and rides a motorcycle and right in the middle, you had Ghost Rider, but from what I understand the series did really well, commercially for Marvel. Comichron, which is the, the comic sales tracking site, notes that early issues were often in the top 10 books sold each month for 91. Like there are eight issues of Ghost Rider, books that are in the top 100 books for that year. So it's not really surprising that Marvel decided to go in really hard with supernatural characters. And in 1992, we had this whole batch of horror hero books launch. We had Spirits of Vengeance, which was a spinoff from Ghost Rider, which saw a Ghost Rider teaming up with Johnny Blaze, and it was the original Ghost Writer. And he didn't have a hellfire motorcycle this time, but he had a shotgun that would fire hell fire, you know, and he had a ponytail, it was magnificent. And then there was also the Night Stalkers, [00:35:00] which was a trio of supernatural investigators. There was Hannibal King and Blade and oh, I'm blanking on the third one. Dan: Frank Drake. Mike: Yeah. And Frank Drake was a vampire, right? Dan: And he was a descendant of Dracula, but also was a vampire who had sort of been cured. Um, he didn't have a hunger for human blood, but he still had a necessity for some type of blood and possessed all the attributes, you know, of a vampire, you know, you could do all the powers, couldn't go out in the daylight, that sort of thing. So, the best and worst of both worlds. Mike: Right. And then on top of that, we had the Dark Hold, which it's kind of like the Marvel equivalent of the Necronomicon is the best way I can describe it. Dan: Absolutely. Yup. Mike: And that's showed up in Agents of Shield since then. And they just recently brought it into the MCU. That was a thing that showed up in Wanda Vision towards the end. So that's gonna clearly reappear. And then we also got Morbius who is the living vampire from [00:36:00] Spider-Man and it's great. He shows up in this series and he's got this very goth rock outfit, is just it's great. Dan: Which looked a lot like how Len Kaminsky dressed in those days in all honesty. Mike: Yeah, okay. Dan: So Len will now kill me for that, but. Mike: Oh, well, but yeah, so these guys were all introduced via a crossover event called Rise of the Midnight Sons, which saw all of these heroes, you know, getting their own books. And then they also teamed up with Dr. Strange to fight against Lilith the mother of demons. And she was basically trying to unleash her monstrous spawn across the world. And this was at the same time the Terror wound up invading the Marvel Universe. So if you were going to give an elevator pitch for Terror in the Marvel Universe, how would you describe him? Dan: I actually wrote one down, I'll read it to you, cause you, you know, you put that there and was like, oh gosh, I got to like now pitch this. A mythic manifestation of fear exists in our times, a top dollar mercenary for hire using a supernatural [00:37:00] ability to attach stolen body parts to himself in order to activate the inherit ability of the original owner. A locksmith's hand or a marksman, his eye or a kickboxer his legs, his gruesome talent gives him the edge to take on the jobs no one else can, he accomplishes with Savage, restyle, scorn, snark, and impeccable business acumen. So. Mike: That's so good. It's so good. I just, I have to tell you the twelve-year-old Mike is like giddy to be able to talk to you about this. Dan: I was pretty giddy when I was writing this stuff. So that's good. Mike: So how did Terror wind up crossing into the Marvel Universe? Like, because he just showed shows up in a couple of cameos in some Daredevil issues that you also wrote. I believe. Dan: Yeah, I don't know if he'd showed up before the book itself launched that might've, I mean, the timing was all around the same time. But everybody who was involved with Terror, love that Terror and Terror Incorporated, which was really actual title. Love the hell out of [00:38:00] the book, right. And myself, the editors, Carl Potts, who was the editor in chief, we all knew it was weird and unique. And, at one point when I, you know, said to Carl afterwards, well I'm just gonna take this whole concept and go somewhere else with it, he said, you can't, you made up something that, you know, can't really be replicated without people knowing exactly what you're doing. It's not just another guy with claws or a big muscle guy. How many people grab other people's body parts? So I said, you know, fie on me, but we all loved it. So when, the Shadowline stuff kind of went away, uh, and he was sort of kicking out there is still, uh, Carl came to me one day and, and said, listen, we love this character. We're thinking of doing something with horror in Marvel. This was before the Rise of the Midnight Sons. So it kind of came a little bit ahead of that. I think this eventually would become exactly the Rise of the Midnight Sons, but we want to bring together a lot of these unused horror characters, like Werewolf by Night, Man Thing, or whatever, but we want a central kind of [00:39:00] character who, navigates them or maybe introduces them. Wasn't quite clear what, and they thought Terror, or Shrek as he still was at that point, could be that character. He could almost be a Crypt Keeper, maybe, it wasn't quite fully baked. And, so we started to bounce this around a little bit, and then I got a call from Carl and said, yeah, that's off. We're going to do something else with these horror characters, which again would eventually become probably the Midnight Sons stuff. But he said, but we still want to do something with it. You know? So my disappointment went to, oh, what do you mean? How could we do anything? He said, what if you just bring him into the Marvel Universe? We won't say anything about what he did before, and just use him as a character and start over with him operating as this high-end mercenary, you know, what's he going to do? What is Terror Incorporated, and how does he do business within the Marvel world? And so I said, yes, of course, I'm not going to say that, you know, any quicker and just jumped into [00:40:00] it. And I didn't really worry about the transition, you know, I wasn't thinking too much about, okay. How does he get from Shadow Line world, to earth 616 or whatever, Marcus McLaurin, who was the editor. God bless him, for years would resist any discussion or no, no, it's not the same character. Marcus, it's the same character I'm using the same lines. I'm having him referenced the same fact that he's had different versions of the word terrors, his name at one point, he makes a joke about the Saint George complex. I mean, it's the same character. Mike: Yeah. Dan: But , you know, Marcus was a very good soldier to the Marvel hierarchy. So we just really brought him over and we just went all in on him in terms of, okay, what could a character like this play in the Marvel world? And he played really well in certain instances, but he certainly was very different than probably anything else that was going on at the time. Mike: Yeah. I mean, there certainly wasn't a character like him before. So all the Wikias, like [00:41:00] Wikipedia, all the Marvel fan sites, they all list Daredevil 305 as Terror's first official appearance in. Dan: Could be. Mike: Yeah, but I want to talk about that for a second, because that is, I think the greatest villain that I've ever seen in a Marvel comic, which was the Surgeon General, who is this woman who is commanding an army of like, I mean, basically it's like a full-scale operation of that urban myth of - Dan: Yeah. Mike: -the dude goes home with an attractive woman that he meets at the club. And then he wakes up in a bathtub full of ice and he's missing organs. Dan: Yeah. You know, sometimes, you know, that was certainly urban myth territory, and I was a big student of urban myths and that was the sort of thing that I think would show up in the headlines every three to six months, but always one of those probably friend of a friend stories that. Mike: Oh yeah. Dan: Like a razor an apple or something like that, that never actually sort of tracks back. Mike: Well, I mean, the thing now is it's all edibles in candy and they're like, all the news outlets are showing officially [00:42:00] branded edibles. Which, what daddy Warbucks mother fucker. Jessika: Mike knows my stand on this. Like, no, no, nobody is buying expensive edibles. And then putting them in your child's candy. Like, No, no, that's stupid. Dan: No, it's the, it's the, easier version of putting the LSD tab or wasting your pins on children in Snickers bars. Jessika: Right. Dan: Um, but but I think, that, that storyline is interesting, Mike, cause it's the, it's one of the few times I had a plotline utterly just completely rejected by an editor because I think I was doing so much horror stuff at the time. Cause I was also concurrently doing the Hellraiser work, the Night Breed work. It would have been the beginning of the Night Stalkers work, cause I was heavily involved with the whole Midnight Sons work. And I went so far on the first plot and it was so grizzly and so gruesome that, Ralph Macchio who was the editor, called me up and said, yeah, this title is Daredevil. It's not Hellraiser. So I had to kind of back off [00:43:00] and realize, uh, yeah, I put a little too much emphasis on the grisliness there. So. Mike: That's amazing. Dan: She was an interesting, exploration of a character type. Mike: I'm really sad that she hasn't showed back up, especially cause it feels like it'd be kind of relevant these days with, you know, how broken the medical system is here in America. Dan: Yeah. It's, it's funny. And I never played with her again, which is, I think one of my many Achilles heels, you know, as I would sometimes introduce characters and then I would just not go back to them for some reason, I was always trying to kind of go forward onto something new. Mike: Yeah. Jessika: Is there anything about Terror's character that you related to at the time, or now even. Dan: Um, probably being very imperious, very complicated, having a thing for long coats. Uh, I think all of those probably, you know, work then and now, I've kind of become convinced weirdly enough over time, that Terror was a character who [00:44:00] and I, you know, I co-created him with Margaret Clark and, and Klaus Janson, but I probably did the most work with him over the years, you know? So I feel maybe a little bit more ownership, but I've sort of become convinced that he was just his own thing, and he just existed out there in the ether, and all I was ultimately was a conduit that I was, I was just channeling this thing into our existence because he came so fully formed and whenever I would write him, he would just kind of take over the page and take over the instance. That's always how I've viewed him, which is different than many of the other things that I've written. Mike: He's certainly a larger than life personality, and in every sense of that expression. Jessika: Yes. Mike: I'm sorry for the terrible pun. Okay. So we've actually talked a bit about Terror, but I [00:45:00] feel like we need to have Jessika provide us with an overall summary of his brief series. Jessika: So the series is based on the titular character, of course, Terror, who is unable to die and has the ability to replace body parts and gains the skill and memory of that limb. So he might use the eye of a sharpshooter to improve his aim or the arm of an artist for a correct rendering. And because of the inability for his body to die, the dude looks gnarly. His face is a sick green color. He has spike whiskers coming out of the sides of his face, and he mostly lacks lips, sometimes he has lips, but he mostly lacks lips. So we always has this grim smile to his face. And he also has a metal arm, which is awesome. I love that. And he interchanges all of the rest of his body parts constantly. So in one scene he'll have a female arm and in another one it'll sport, an other worldly tentacle. [00:46:00] He states that his business is fear, but he is basically a paid mercenary, very much a dirty deeds, although not dirt cheap; Terror charges, quite a hefty sum for his services, but he is willing to do almost anything to get the job done. His first job is ending someone who has likewise immortal, air quotes, which involves finding an activating a half demon in order to open a portal and then trick a demon daddy to hand over the contract of immortality, you know, casual. He also has run-ins with Wolverine, Dr. Strange Punisher, Silver Sable, and Luke Cage. It's action packed, and you legitimately have no idea what new body part he is going to lose or gain in the moment, or what memory is going to pop up for him from the donor. And it keeps the reader guessing because Terror has no limitations. Mike: Yeah. Dan: was, I was so looking forward to hearing what your recap was going to be. I love that, so I just [00:47:00] want to say that. Jessika: Thank you. I had a lot of fun reading this. Not only was the plot and just the narrative itself, just rolling, but the art was fantastic. I mean, the things you can do with a character like that, there truly aren't any limits. And so it was really interesting to see how everything fell together and what he was doing each moment to kind of get out of whatever wacky situation he was in at the time.So. And his, and his quips, I just, the quips were just, they give me life. Mike: They're so good. Like there was one moment where he was sitting there and playing with the Lament Configuration, and the first issue, which I, I never noticed that before, as long as we ready this time and I was like, oh, that's great. And then he also made a St. George reference towards the end of the series where he was talking about, oh, I knew another guy who had a St. George complex. Dan: Right, right. Right, Mike: Like I love those little Easter eggs. Speaking of Easter eggs, there are a lot of Clive Barker Easter eggs throughout that whole series. Dan: [00:48:00] Well, That's it. That was so parallel at the time, you know. Mike: So around that time was when you were editing and then writing for the HellRaiser series and the Night Breed series, right? Dan: Yes. Certainly writing for them. Yeah. I mean, I did some consulting editing on the HellRaiser and other Barker books, after our lift staff, but, primarily writing at that point. Mike: Okay. Cause I have Hellraiser number one, and I think you're listed as an editor on it. Dan: I was, I started the whole Hellraiser anthology with other folks, you know, but I was the main driver, and I think that was one of the early instigators of kind of the rebirth of horror at that time. And, you know, going back to something you said earlier, you know, for many years, I was always, pressing Archie Goodwin, who worked at Warren, and worked on Erie, and worked on all those titles. You know, why can't we do a new horror anthology and he was quite sage like and saying, yeah. It'd be great to do it, but it's not going to sell there's no hook, right? There's no connection, you know, just horror for her sake. And it was when Clive Barker [00:49:00] came into our offices, and so I want to do something with Archie Goodwin. And then the two of them said, Hellraiser can be the hook. Right. Hellraiser can be the way in to sort of create an anthology series, have an identifiable icon, and then we developed out from there with Clive, with a couple of other folks Erik Saltzgaber, Phil Nutman, myself, Archie Goodwin, like what would be the world? And then the Bible that would actually give you enough, breadth and width to play with these characters that wouldn't just always be puzzle box, pinhead, puzzle box, pinhead, you know? And so we developed a fairly large set of rules and mythologies allowed for that. Mike: That's so cool. I mean, there really wasn't anything at all, like Hellraiser when it came out. Like, and there's still not a lot like it, but I - Jessika: Yeah, I was going to say, wait, what else? Mike: I mean, I feel like I've read other books since then, where there's that blending of sexuality and [00:50:00] horror and morality, because at the, at the core of it, Hellraiser often feels like a larger morality play. Dan: Now, you know, I'm going to disagree with you on that one. I mean, I think sometimes we let it slip in a morality and we played that out. But I think Hellraiser is sort of find what you want out of it. Right. You go back to the first film and it's, you know, what's your pleasure, sir? You know, it was when the guy hands up the book and the Centobites, you know, or angels to some demons, to others. So I think the book was at its best and the movies are at their best when it's not so much about the comeuppance as it is about find your place in here. Right? And that can be that sort of weird exploration of many different things. Mike: That's cool. So going back to Terror. Because we've talked about like how much we enjoyed the character and everything, I want to take a moment to talk about each of our favorite Terror moments. Dan: Okay. Mike: So Dan, why don't you start? What was your favorite moment for Terror [00:51:00] to write or going back to read? Dan: It's a great question, one of the toughest, because again, I had such delight in the character and felt such a connection, you know, in sort of channeling him in a way I could probably find you five, ten moments per issue, but, I actually think it was the it's in the first issue. And was probably the first line that sort of came to me. And then I wrote backwards from it, which was this, got your nose bit. And you know, it's the old gag of like when a parent's playing with a child and, you know, grabs at the nose and uses the thumb to represent the nose and says, got your nose. And there's a moment in that issue where I think he's just plummeted out of a skyscraper. He's, you know, fallen down into a police car. He's basically shattered. And this cop or security guard is kind of coming over to him and, and he just reaches out and grabs the guy's nose, you know, rips his arm off or something or legs to start to replace himself and, and just says, got your nose, but it's, but it's all a [00:52:00] build from this inner monologue that he's been doing. And so he's not responding to anything. He's not doing a quip to anything. He's just basically telling us a story and ending it with this, you know, delivery that basically says the guy has a complete condescending attitude and just signals that we're in his space. Like he doesn't need to kind of like do an Arnold response to something it's just, he's in his own little world moments I always just kind of go back to that got your nose moment, which is just creepy and crazy and strange. Mike: As soon as you mentioned that I was thinking of the panel that that was from, because it was such a great moment. I think it was the mob enforcers that had shot him up and he had jumped out of the skyscraper four and then they came down to finish him off and he wound up just ripping them apart so that he could rebuild himself. All right, Jessika, how about you? Jessika: I really enjoyed the part where Terror fights with sharks in order to free Silver Sable and Luke Cage. [00:53:00] It was so cool. There was just absolutely no fear as he went at the first shark head-on and, and then there were like five huge bloodthirsty sharks in the small tank. And Terror's just like, what an inconvenience. Oh, well. Mike: Yeah. Jessika: Like followed by a quippy remark, like in his head, of course. And I feel like he's such a solitary character that it makes sense that he would have such an active internal monologue. I find myself doing that. Like, you know, I mean, I have a dog, so he usually gets the brunt of it, but he, you know, it's, it is that you start to form like, sort of an internal conversation if you don't have that outside interaction. Dan: Right. Jessika: And I think a lot of us probably relate to that though this pandemic. Mike: Yeah. Jessika: But the one-liner thoughts, like, again, they make those scenes in my opinion, and it gave pause for levity. We don't have to be serious about this because really isn't life or death for Terror. We know that, and he just reminds us that constantly by just he's always so damn nonchalant. [00:54:00] Dan: Yeah. He does have a very, I'm not going to say suave, but it's, uh, you know, that sort of very, I've got this, you know, sort of attitude to it. Mike: I would, say that he's suave when he wants to be, I mean, like the last issue he's got his whiskers tied back and kind of a ponytail. Dan: Oh yeah. Jessika: Oh yeah. Dan: Richard Pace did a great job with that. Mike: Where he's dancing with his assistant in the restaurant and it's that final scene where he's got that really elegant tuxedo. Like. Dan: Yeah. It's very beautiful. Mike: I say that he can be suave and he wants to be. So I got to say like my favorite one, it was a visual gag that you guys did, and it's in issue six when he's fighting with the Punisher and he's got this, long guns sniper. And he shoots the Punisher point blank, and Terror's, like at this point he's lost his legs for like the sixth time. Like he seems to lose his legs, like once an issue where he's just a torso waddling around on his hands. And so he shoots him the force skids him back. [00:55:00] And I legit could not stop laughing for a good minute. Like I was just cackling when I read that. So I think all of us agree that it's those moments of weird levity that really made the series feel like something special. Dan: I'm not quite sure we're going to see that moment reenacted at the Disney Pavilion, you know, anytime soon. But, that would be pretty awesome if they ever went that route. Mike: Well, yeah, so, I mean, like, let's talk about that for a minute, because one of the main ways that I consume Marvel comics these days is through Marvel unlimited, and Terror is a pretty limited presence there. There's a few issues of various Deadpool series. There's the Marvel team up that I think Robert Kirkman did, where Terror shows up and he has some pretty cool moments in there. And then there's a couple of random issues of the 1990s Luke Cage series Cage, but like the core series, the Marvel max stuff, his appearance in books like Daredevil and Wolverine, they just don't seem to be available for consumption via the. App Like I had to go through my personal [00:56:00] collection to find all this stuff. And like, are the rights just more complicated because it was published under the Epic imprint and that was create her own stuff, like do you know? Dan: No, I mean, it wouldn't be it's choice, right. He's probably perceived as a, if people within the editorial group even know about him, right. I was reading something recently where some of the current editorial staff had to be schooled on who Jack Kirby was. So, I'm not sure how much exposure or, you know, interest there would be, you know, to that. I mean, I don't know why everything would be on Marvin unlimited. It doesn't seem like it requires anything except scanning the stuff and putting it up there. But there wouldn't be any rights issues. Marvel owned the Shadow Line, Marvel owns the Terror Incorporated title, it would have been there. So I'm not really sure why it wouldn't be. And maybe at some point it will, but, that's just an odd emission. I mean, for years, which I always felt like, well, what did I do wrong? I [00:57:00] mean, you can find very little of the Daredevil work I did, which was probably very well known and very well received in, in reprints. It would be like, there'd be reprints of almost every other storyline and then there'd be a gap around some of those things. And now they started to reappear as they've done these omnibus editions. Mike: Well, yeah, I mean, you know, and going back the awareness of the character, anytime I talk about Terror to people, it's probably a three out of four chance that they won't have heard of them before. I don't know if you're a part of the comic book historians group on Facebook? Dan: I'm not. No. Mike: So there's a lot of people who are really passionate about comic book history, and they talk about various things. And so when I was doing research for this episode originally, I was asking about kind of the revamp of supernatural heroes. And I said, you know, this was around the same time as Terror. And several people sat there and said, we haven't heard of Terror before. And I was like, he's great. He's amazing. You have to look them up. But yeah, it seems like, you know, to echo what you stated, it seems like there's just a lack of awareness about the character, which I feel is a genuine shame. And that's part of the [00:58:00] reason that I wanted to talk about him in this episode. Dan: Well, thank you. I mean, I love the spotlight and I think anytime I've talked to somebody about it who knew it, I've never heard somebody who read the book said, yeah, that sucks. Right. I've heard that about other things, but not about this one, invariably, if they read it, they loved it. And they were twisted and kind of got into it. But did have a limited run, right? It was only 13 issues. It didn't get the spotlight, it was sort of promised it kind of, it came out with a grouping of other mercenary titles at the time. There was a new Punisher title. There was a Silver Sable. There was a few other titles in this grouping. Everyone was promised a certain amount of additional PR, which they got; when it got to Terror. It didn't get that it like, they pulled the boost at the last minute that might not have made a difference. And I also think maybe it was a little bit ahead of its time in certain attitudes crossing the line between horror and [00:59:00] humor and overtness of certain things, at least for Marvel, like where do you fit this? I think the readers are fine. Readers are great about picking up on stuff and embracing things. For Marvel, it was kind of probably, and I'm not dissing them. I never got like any negative, you know, we're gonna launch this title, what we're going to dismiss it. But I just also think, unless it's somebody like me driving it or the editor driving it, or Carl Potts, who was the editor in chief of that division at that point, you know, unless they're pushing it, there's plenty of other characters Right. For, things to get behind. But I think again, anytime it kind of comes up, it is definitely the one that I hear about probably the most and the most passionately so that's cool in its own way. Mike: Yeah, I think I remember reading an interview that you did, where you were talking about how there was originally going to be like a gimmick cover or a trading card or something like that. Dan: Yeah. Mike: So what was the, what was the gimmick going to be for Terror number one? Dan: What was the gimmick going to be? I don't know, actually, I if I knew I [01:00:00] can't remember anymore. But it was going to be totally gimmicky, as all those titles and covers were at the time. So I hope not scratch and sniff like a, uh, rotting bodies odor, although that would have been kind of in-character and cool. Mike: I mean, this was the era of the gimmick cover. Dan: Oh, absolutely. Mike: Like,that was when that was when we had Bloodstrike come out and it was like the thermographic printing, so you could rub the blood and it would disappear. Force Works is my favorite one, you literally unfold the cover and it's like a pop-up book. Dan: Somebody actually keyed me in. There actually was like a Terror trading card at one point. Mike: Yeah. Dan: Like after the fact, which I was like, shocked. Mike: I have that, that's from Marvel Universe series four. Dan: Yeah. we did a pretty good job with it actually. And then even as we got to the end of the run, you know, we, and you can sort of see us where we're trying to shift certain aspects of the book, you know, more into the mainstream Marvel, because they said, well, we'll give you another seven issues or something, you know, to kind of get the numbers up. Mike: Right. Dan: And they pulled the plug, you know, even before that. So, uh, that's why [01:01:00] the end kind of comes a bit abruptly and we get that final coda scene, you know, that Richard Pace did such a nice job with. Mike: Yeah. I mean, it felt like it wrapped it up, you know, and they gave you that opportunity, which I was really kind of grateful for, to be honest. Dan: Yeah. and subsequently, I don't know what's going on. I know there was that David Lapham, you know, series, you did a couple of those, which I glanced at, I know I kind of got in the way of it a little bit too, not in the way, but I just said, remember to give us a little created by credits in that, but I didn't read those. And then, I know he was in the League of Losers at one point, which just didn't sound right to me. And, uh. Mike: It's actually. Okay. So I'm going to, I'm going to say this cause, it's basically a bunch of, kind of like the B to C listers for the most part. And. So they're called the Legal Losers. I think it's a really good story, and I actually really like what they do with Terror. He gets, she's now Spider Woman, I think it's, Anya Corazon, but it was her original incarnation of, Arana. And she's got that spider armor that like comes out of her arm. And so she [01:02:00] dies really on and he gets her arm. And then, Dan: That's cool. Mike: What happens is he makes a point of using the armor that she has. And so he becomes this weird amalgamation of Terror and Arana's armored form, which is great. Dan: Was that the Kirkman series? Is that the one that he did or. Mike: yeah. That was part of Marvel Team-Up. Dan: Okay. Mike: it was written by Robert Kirkman. Dan: Well, then I will, I will look it up. Mike: Yeah. And that one's on Marvel unlimited and genuinely a really fun story as I remembered. It's been a couple of years since I read it, but yeah. Dan: Very cool. Mike: So we've talked about this a little bit, but, so

I have had my head down for a while working on the next version of RapidStartCRM. We also recently deployed RapidStartCRM for our own support operations. In the process, I came across a few items that I thought would be of interest to the users of our free app, and since they would also work for any Power App, including Dynamics 365, I thought I might discuss them. Next Version Before I get into this, I want to clarify what I mean by "Next Version" of RapidStartCRM. We have been developing this product since 2015 when we launched it a the Worldwide Partner Conference (Now called Inspire). Over the years we had made hundreds of updates and tweaks in direct response to users. We also refactored the solution a couple of years ago to run on the low cost Power Apps licenses in addition to Dynamics 365. Each update, with the exception of the refactoring, had progressively fewer changes as we honed in on our target customers' requirements. I am pleased to inform you that the next version will have the fewest tweaks yet... I mean it is damn near perfect already. So let's get back to our internal project. Forceworks Support We had been running our support operation on Dynamics 365 Customer Engagement for over 10 years. Several times I had contemplated moving it to RapidStartCRM, but as a certified partner my licenses were free, so I kept putting it on the back burner. Our support operation is not very complicated. Customers buy blocks of hours which we add to their bank, and we track our activities against those blocks. We also maintain a portal where customers can login and see their bank balance as well as review all activities. We had been using a third-party portal since before Microsoft even contemplated a portal product. The portal company had been purchased by another company for other assets of value to them and the portal product came with the package.  But portals was not a priority for them. I figured it was a matter of time before they shut it down. So the time had come to move. Dynamics 365 So, as I said I get Dynamics 365 licenses at no cost. So it might seem an obvious choice just to fire up a Power Apps Portal and connect it to our existing instance. and be done. However, as years have gone by now with us supporting customers on RapidStartCRM, many of whom had moved to it from Dynamics 365, I have come to not really like Microsoft's first-party apps very much. I truly feel they are unnecessarily complicated and bloated. And while my licenses may be free, any additional database capacity is not. Our instance, even though it was not doing all that much, was consuming the lion's share of our capacity. So I made the decision to "upgrade" our support operation off of Dynamics 365 and on to our own RapidStartCRM. Also, Power Apps Portals works the same on RapidStartCRM, so there was no reason to continue with the bloated beast. And, if for some reason I was no longer getting free licenses, my cost would be about $10 vs. $95 per user... a factor in many other customers' "upgrading". Migration We could have done this upgrade/migration in a day, but I took this opportunity to make some improvements to our process. Mainly around automation, nothing we could not have done before, but this was a good time, since we were opening things up. We started with the same RapidStartCRM solution as our customers get, and installed it from AppSource on a new environment the same way any customer would. We made use of the RapidStartCRM Accounts, Contacts and Cases. We created two custom Tables, one for Case Notes, to track time and activities, and one for Support Hours, to track the customers' purchases and banks. We also created several Cloud Flows with Power Automate... things like calculating hours and various customer notifications. In addition, we added some specific charts to the RapidStartCRM dashboards for quickly getting a view of things. We also tweaked the RapidStartCRM App to hide Opportunities and a couple of other items we were not using for this need. Lastly, we mapped and migrated all of our historical data to the new environment. I didn't even pause before I hit the "delete" button on our old bloated environment we had depended on for 10 years. Portals So I mentioned that Microsoft offers a Power Apps Portal. Again, for me it would cost nothing. Depending our your requirements, it might be a good solution for you. Unfortunately, like everything the Microsoft Business Applications group produces... it is more complicated than necessary. This is even more noticeable when your requirements are simple. Our requirement was to have a place customers could log into and see their account information, purchase history, case information and case notes. I wanted it to be clean, simple and easy to maintain. Not too complicated. Our Forceworks main website runs on WordPress, like so many other small to mid-sized businesses. So my preference was a WordPress based portal. My friend, and fellow MVP, George Doubinski had the answer. The AlexaCRM WordPress integration solution. Using Alexa, we are able to display any information we want from our RapidStartCRM environment on any WordPress posts or pages. For us, it was a better solution. AlexaCRM can do much more, I am aware of customers running full eCommerce portals with it! If you let George know that you heard about his solution from this post, he promised me he would sing you a short song of your choice. Power Automate Our previous environment had used classic workflows for everything, so this was a good time to move those to Power Automate Cloud Flows. However, I am not 100% sold on Power Automate... yet. Classic workflows still exist because Microsoft has not yet reached parity with Power Automate to be able to turn them off. The "Fullness of Time" does seem to be quite full indeed. But I decided to use Cloud Flows wherever possible. It seems that every time I look for a connector in their expansive list of hundreds, it either does not exist, or does not do what I need it to. This was the case for WordPress also. The connector exists... but is essentially useless. Once again, a fellow MVP to the rescue. Heidi Nuehauser is working with Nick Hance at Reenhanced, and they have a rock-solid Power Automate connector for WordPress that can be used with either Gravity Forms or Contact 7 forms on your WordPress site. If you use the code FORCEWORKS, you can try it out for a month for free. BTW, I did not actually need the Reenhanced connector for our Support site, but while I was under the hood, I decided to update all of the forms on our main Forceworks and RapidStartCRM websites. So now all forms submitted create a record in Dataverse automagically. Results Since our Support Portal is not public (unless you want to buy some hours), I added some screenshots below for your reference. If you would be interested in a similar solution, please contact Forceworks. Account Summary Page   Cases Page Case Details Page

Will went crazy with ten books! Amazing Spider-Man by Nick Spencer vol 8: Threats and Menaces, Iron Man 2020: Robot Revolution, Iron Man 2020: iWolverine, Iron Man 2020: Force Works, Guardians of the Galaxy by Al Ewing vol 1: Then It's Us, Daredevil by Chip Zdarsky vol 4: End of Hell, Avengers of the Wastelands, Ghost Rider vol 2: Hearts of Darkness II, Star: Birth of a Dragon (all from 2020), and Incoming #1 (2019). Steve read Kitty Pryde: Agent of S.H.I.E.L.D., Wolverine: Days of Future Past, Tales from Age of Apocalypse: Sinister Bloodlines, Wolverine vol 2 #119-122, Heroes Reborn: The Return, and Quicksilver vol 1 #1-3, and then swore off 1998 comic books entirely. For now.

If you're a fan of Forceworks, cum, or lichen, do we have a show for you. Besides trying to lose our entire audience, we also talk Rob Liefeld's brave stand against non-spoilers, we review DC's most anticipated book of their relaunch, and we nominate the comic book favourites it's time to bring back. And a new contender for greatest BA's PA ever!

On this week's Stack podcast, we're reviewing: Birds of Prey #1, The Death of Nancy Drew #1, Nailbiter Returns #1, Shazam #12, Scream #6, Reaver #8, Aggrestsuko #3, Force Works 2020 #3, Ragnarök: The Breaking of Helheim #5, Far Sector #6, Critical Role: Vox Machina: Origins #6, Buffy The Vampire Slayer: Every Generation #1, Revenge of the Cosmic Ghost Rider #5, G.I. Joe: A Real American Hero #271, Copra #6, Backtrack #3, Avengers of the Wasteland #5, The Boys: Dear Becky #1, Star Trek: Year Five #11 and The Red Mother #5. SUBSCRIBE ON RSS, ITUNES, ANDROID, SPOTIFY, STITCHER OR THE APP OF YOUR CHOICE. FOLLOW US ON TWITTER, AND FACEBOOK. SUPPORT OUR SHOWS ON PATREON. Support the show: https://www.patreon.com/comicbookclub See omnystudio.com/listener for privacy information.

Some thoughts on discernment in times of change and upheaval. Subscribe to the feed via RSS | iTunes | Google Play Music. Follow me on social media: Father Roderick on YouTube – Main channel Father Roderick Stories – Documentary & Vlogs Father Roderick Builds – Lego builds and conversation Father Roderick on Facebook Father RoderickContinue reading "That's not how the Force works!" The post That's not how the Force works! appeared first on Father Roderick.

Some thoughts on discernment in times of change and upheaval. Subscribe to the feed via RSS | iTunes | Google Play Music. Follow me on social media: Father Roderick on YouTube – Main channel Father Roderick Stories – Documentary & Vlogs Father Roderick Builds – Lego builds and conversation Father Roderick on Facebook Father RoderickContinue reading "That’s not how the Force works!" The post That’s not how the Force works! appeared first on Father Roderick.

In this episode, Rokk and Steven review Forceworks #1, X-Force #8, X-Men #7, Leviathan Dawn #1, Red Hood Outlaw #43, and Shazam #11. Forceworks #1 at the 6:34 minute mark X-Force #8 at the 26:55 minute mark X-Men #7 at the 44:29 minute mark Leviathan Dawn #1 at the 1:12:29 minute mark Red Hood Outlaw #43 at the 1:32:14 minute mark Shazam #11 at the 1:51:06 minute mark

On today's review Stack: Giant-Size X-Men #1, Leviathan Dawn #1, Hidden Society #1, Falcon & Winter Soldier #1, Ice Cream Man #18, Amethyst #1, Quantum & Woody #2, Fantastic Four: Grimm Noir #1, Teenage Mutant Ninja Turtles: Jennika #1, Year of the Villain: Hell Arisen #3, Sex Criminals #27, Force Works 2020 #1, Tomorrow #1, and X-Men #7. SUBSCRIBE ON RSS, ITUNES, ANDROID, SPOTIFY, STITCHER OR THE APP OF YOUR CHOICE. FOLLOW US ON TWITTER, AND FACEBOOK. SUPPORT OUR SHOWS ON PATREON. Thanks to this week's sponsor, Acre Gold. Find out more at getacregold.com/comicbook. Support the show: https://www.patreon.com/comicbookclub See omnystudio.com/listener for privacy information.