Hey everybody, it's Rob Lefeld and you are listening to Rob's observations yet another brand new

edition, freshly unwrapped, not yet bagged and boarded and put away in the box. This is a fresh

edition hot off the internet sound press. Guys, welcome. Thank you for

listening to another edition of Rob's observations where we talk about comic books and pop culture.

And today is going to be a lot of fun because we are going to look at how comic books are made.

And we're going to do it across a broad spectrum of how people make their comic books

because no two comic books are made the same.

But it's pretty ironic that we sit here and we talk about comic books.

I talk about comic books all the time.

And I've given you some

some broad history, some deep dives, backstories, how the Wolverine epic, uh, mini series by

Chris Claremont and Frank Miller was born on a drive from the San Diego Comic Con up to LA, post,

you know, Comic Con 1982. Uh, 1982. You know, the conversations that have flown,

the interviews, you know, I loved reading all of the great comic book interviews. There was a real

thirst for that stuff when I was growing up and then then it became real

teeny bopper. The biggest crime, you know, Wizard magazine did is it made everything stupid. Comics journal,

amazing heroes, comics feature, these, the comics interview magazine. Oh my gosh. Those four did deep, deep, deep dives

into the, uh, you know, process. Told you what writers were thinking, artists were thinking,

how they approached things. Um, to start out, Wizard tried that and then they threw journalism in the trash and just wanted to become

uh the the comic book equivalent of teen beat or 17 and those are also aging me because they are references

to the uh teeny bopper pinup magazines of uh of of my youth that that were all over newss, which took whatever hot teen actor who was in

whatever teen series or teen movie and plaster them everywhere. And, you know, that that was

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