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This podcast got me so pumped up and frustrated that I had to blast some vintage Van Halen (“Ain’t Talking Bout Love”!) just to get the energy out.

The frustration came exclusively from the Hankiewicz – I mean only 50 copies?? Yeesh. I’m often frustrated by the low print runs/quick sell outs of so many DIY comics, even as I understand the economic reasons behind them – still, it sometimes feels like unless you do the con circuit or sit on your favorite artists’ Twitter feeds/storefront pages you’re forever playing catch up. However, the part of the podcast that spun this in a positive light—the act of having to hunt down something rare as a Good Thing—made me reconsider. Like, 10 years ago, if SuperHappyFun or Shocking Videos or one of those grey-market dealers had put out 4th-generation unsubtitled copies of CITY OF PIRATES or LE DEPART or their ilk I would have eagerly forked over my $10-20 bucks and been so damn delighted to just to have the chance to own and watch crummy copies of these rarities. Now, I can download crystal copies of these same movies with a button click and it’s like “eh…that’s nice”. So having to actually do a little bit of work to track down something and maybe wheedle and hustle a bit…I agree, it adds something to the experience.

But still – only 50 copies?

I wasn't on this one, but if I was, I would have vehemently disagreed with that positive spin. It makes comics smaller than it needs to be, and it plays into the same hyperconsumptive stupidity that toxifies the rest of the artform.

If I didn't say it out loud, I'll say it here (and if I did, I'll repeat): I don't think the 50-copy run will be the only run. Granted, it took a couple months to work through that 50, but... I think a *little* bit of proven demand will inspire another edition, maybe simpler. Or maybe slicker, and from a publisher, which can give it the exposure John H. sewing graphic novels together at home probably can't...

Did y'all know that Jenette Kahn was the creator and original editor of DYNAMITE? There's no escape from comics...

I love and fucking hate this podcast.

I love it because it opens me up to a lot of comics I would have overlooked or not known about. I hate this podcast because exactly what Joe said: Have fun finding them.

While I do have fun finding them, most the time I just don't have the money or time to read them all. I am really excited to get Generous Bosom #1 (I'm happy to hear Conor Stechschulte getting some play, his comic, The Amatuers, was a great fucking read), The Man Next Door and Epoxy though, but it might be a bit till I get them.

Lapsos by Inés Estrada: I was somewhat surprised to hear about this comic. I don't know why though, and I think that's because comics from Mexico don't get a lot talk on CBABIH. I do my best to keep up with some of the comics getting released there and whenever I do go to Mexico to visit my family, I do my best to go to Mexico City to get some of indies.

Emily Carroll: I definitely agree that Carroll is in the realm of classical horror. I really enjoy her takes on classic horror themes/monsters through a video game/postmodern--I know--filter. There's only one other person who does what Carroll does and that's John Langan. Langan, like Carroll, gives a postmodern--moreso than Carroll--take on classic horror themes and monster. Langan has written one of the best vampire stories I've read in a long time and his short story, Mother Stone, like Carroll's Frontier, works within that creepypasta/internet urban legends frame; hell, the main character of Mother Stone is an Internet Urban Legend researcher. I highly recommend Langan's The Wide, Carnivorous Sky and Other Monstrous Geographies.

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