Hey Geekscapes, welcome to a brand new GeekScape podcast. I'm Jonathan Love and your host. And if this is your first GeekScape, strap yourselves in for some pop culture talk. I thought about maybe writing a new intro, maybe saying something different. But that one, that's just kind of what has come to mind. It's just, it's very automatic. So yeah, I'm getting notifications and I apologize to those of you who are supporters of Elon Musk but I don't think we're going live on X, which is fine. I know it's fine. The less content we funnel in that direction, the better. But if you guys are watching on Facebook, Twitch or YouTube Live, well welcome. I appreciate you guys are watching this. I've got a great episode for you guys. Comment book writer Jim Kruger, who's also worked in film, video games and other media, is here. I'm Jonathan London, your host. I've written in all those mediums. Not to the degree in comics that Jim has. He's described as a comics legend in my research for this conversation. People were like, oh, comics legend Jim Kruger, which I'm not going to, I'm not going to disagree with that. Jim is, I think my first exposure to Jim's writing was to Earth X, the Marvel Comics collaboration with Alex Ross. I loved it and then followed it into DC's justice and then sort of checking out some of Jim's original stuff like foot soldiers, etc. Jim is with us next week at the Comic Con booth there in San Diego, which I'm really excited about, except for the fact I'm only going to be there Wednesday night. So if you're going to San Diego Comic Con, come visit us at the Geekscape booth. Give me two seconds as a professional to find the booth number. This is our brand new booth and it's 1632, which is closer to indie press. So Geekscape is going to San Diego. 1632 is our booth. It's a brand new location because, as you guys heard on the show, this time last year, some of our neighbors didn't like me getting on a microphone and being a bit of a, I don't know, a rabble rouser trying to get some attention for Geekscape, the brand and our neighbors there in our aisle that were middle of a bunch of skyscrapers built by these giant media conglomerates that had solely taken in the last 10 years of exhibiting there in San Diego. Hey, I don't have a problem with it. I want more people at San Diego Comic Con to come and discover Geekscape and all the indie creators. It just wasn't going to happen in our aisle last year as those booths got larger and I had to like literally scream into a microphone to bring attention to us. So they moved us. By request, nothing wrong. By request, they moved us and we're now at 1632, back with our old friends at Trauma. Remember when they used to be in our aisle, Mega64, who we love, they used to be in our aisle and now it's like a whole indie creation family back there in the indie creators aisle and honestly, I shouldn't have moved when they did but we've moved and we're going to be over there. So check us out. We're over by the food court and I'm looking forward to preview night. I've got a race back here because I'm on BabyWatch2024 and I'm excited about that too. So don't worry. You're probably going to get your Deadpool over in special on time. Knock on wood. Baby's not due for a few like a week after that but I'm not going to stay in San Diego for Comic Con just in case. Thank you so much as well for the feedback on the episode with Amy Sang last week. She was on Geekscape and only a few hours later there she is on last week's episode of the Acolyte. That was fun. They still haven't killed my favorite character that little rodent dude, little tracker guy. They better not kill him. The bodies at the floor are pretty hard at that Acolyte series, whether you like it or not. I like that they're breaking things. They're telling their own stories. They're not servicing Canon too much, which is, I guess, a big sticking point for a lot of your fans, but Amy was awesome. She was a great Geekscape guest and it was awesome seeing her in Star Wars. I got an email from George Pepin. Nice message from Kansas City. The last episode's interview welded up some tears. It was a beautiful interview. Thanks. He says, "I'm really glad that you do what you do, just hearing her life story and you connecting the dots." And then her seeing the dots being connected, the humanity of it all. Oh man. Here I am trying to be funny on the show and you well up with tears. Thanks guys. Thanks. All right. That's enough of that fellow bussering. Let's get to Geekscape. Let me throw down the theme song. We'll be right back talking all things comics and more with comics legend. We'll ask him how he feels about that. Comics legend, Jim Kruger. All right. Geekscape is we're here. Welcome to Geekscape. Let's start the show. Jim Kruger, like I said, is best known for his collaboration with Alex Ross, Earth X, Justice, his own work, Foot Soldiers. And now he's got a brand new collaboration with music artist Steve Aoki. We're going to talk all about that. And I think that's pretty exciting. I think more art should overlap, lead in, talk to each other and all that. It's called Hero Quest. Jim is on the show. Hey brother, how are you? I'm excellent. Thanks. How are you? I'm good. I'm good. A little hectic over here in Geekscape headquarters with the baby coming. You're a dad, right? Yeah. Jim, do you have kids? Yeah. I do. They're all older now, though, so. It's like a Pokemon, right? Like it's like a Pokemon. I'll do all, you know, having a kid? It's not like a Pokemon. Yeah, yeah. No, I don't know what you do. I'm trying to think of how you would say, you know, I guess a lot of times kids disappear and you have to spot them. So there's that stuff. Fight over the grass. Sometimes you have to have them fight other kids. They do evolve. You gotta feed them right things. And then hopefully we do too along the way. Oh, I saw my friend Chris Trampolos. I saw him yesterday morning. Chris goes to the same Starbucks I do. It turns out, and I'm usually there at like 5 a.m. when the demons need to come out of my head. I'm usually there writing. And Chris Trampolos, if you remember the Raiders remake, Chris, when he was in the mid 80s, he was a middle school or high schooler, and he was friends with to see Raiders of the Lost Ark. They became, they fell in love with it. And then they painstakingly, every summer through high school, reshot Raiders of the Lost Ark shot for shot. You've heard of that. Yeah, of course. I watched it. I saw it. Yeah, so Chris plays Indiana Jones. And in Chris and I became friends about 20 years ago, when I was doing a short documentary on them, and then they've been on Geekscapes several times as they went to finish the movie. They did the flying wing scene. They had to do a Kickstarter for that. They came on Geekscape and then when they released that and this and that. But randomly I just, I see Chris, so we connect now every couple mornings. And he does this thing. In Geekscape, it's not dismissive. I will take all the advice I can, but as if somebody is overwhelmed, it just, you know, he just goes, "You'll be fine." I want somebody to feel my pain. You'll be fine. You'll be fine. Why does everybody have more confidence in me than I have in me? You're gonna be great. Oh, but that's just, you know, it's you. It's what you say to yourself and that other people have to reaffirm or affirm. It's gonna be great, John. Then you're gonna be fine now. And then reaffirm their affirmation. You know, it's like the inception of affirmation. I think you just have to, if anything, I'm hoping, Jim, what you're saying about your own evolution as a parent, is that taking care of a human being, making sure they're okay, forces you to stay present, right? Like, you have to pretty much take things minute by minute and make sure these defenseless little blobs that turn into full fledged adults. It's really... Which takes us back to Raiders of the Lost Ark when he says, "I don't know, I'm making this up as I go." That's kind of parenting. You know? I don't know, not yet, but I'm freaking, and you geeks gave us are gonna be there for the ride. Well, not the whole thing. Like, you guys, you know, you've all been through a marriage to a divorce or a remarriage. Like, this is my own little prison that we do for shows. Jim, let's take us to you in your life discovering comic books. You used to go in your dad's truck. And help him out when he was working as a kid. And your payment for behaving was a comic. A comic book, like six years old, seven years old. He had a tow truck, so when he'd come home, you know, to take me on, he'd have all the lights spinning on top and stuff like that. And pick me up and there'd always be a comic, like sitting on the seat for me, you know, because he'd want me to read it before we got to the job just in case my hands got dirty. So wait, you know, was your dad like a collector? Because that sounds like the kind of sensitivity towards like the condition of a comic book that you'd expect from somebody who collects. No, no, but he had, he had a fondness. He had a love for it. Like he had, he had memories of his dad bringing him a stack of comics when he was sick or when he was stuck at home. And so I think he thought that that was a fun, cool thing to do. It's beautiful. And you had brothers or sisters? One brother, one brother again. Was were they in the comics too? Because I remember like, I kind of stayed in the comics lane when my brothers fell off of them. But we would all kind of get the comics or use an allowance that you'd have at the Spinner Rack in the grocery store. And that stuff was kind of like to appease us as kids like, Hey, hang out in the Spinner Rack, we're going to go grocery shopping or whatever. And then, and it sounds like there's a version of a piece that they're for behavior in this story, but we would all trade the comics. We'd get three comics and we'd read them and trade them. And then by the end of it, you'd be able to read all three issues. Your brother and you connected in that way or were they not in the comics? Yes and no. He was never into it as much as I was. You know, he was definitely a better student of math and history and science and things like that than I am or I was. Are they mutually exclusive to comic writing? Do you look back? I don't think so. Yeah. Well, I mean, were you just not into school? No, no, school was fine. I was definitely into it. And I did my homework and, you know, most of the time and, you know, just we were just different types. So it felt like just looking back at school, I'm just like, okay, it felt like something I didn't really have to try and do until college. And then when I got to college, I got walloped in that first semester and really had to dig in and figure out how to study and things that I took for granted in high school. But I think it, it ultimately, it made me a little bit more passionate about the lanes that I chose, whether it be broadcasting, which I went to school for, film, which I then went to grad school for. And those kind of things, I just never was going to dedicate that to math or science. Young Jim in the toe trial. And I don't want to, I don't want to give me, I don't want to give me, like, say something wrong, like I'm my ACTs. I was in the top two percentile in math. Oh, you're a smart dude. I never would have done it. Yeah, geometry was really easy. Science wasn't as easy, but, but geometry and math, I just got. That's, yeah, that's not the math stuff was never good. The word stuff, the history in English, I'm sure that came to you pretty well. It came to me pretty easy, because it's just story time. But what were the first inclinations? Because film lives that life too with you. There's, there's film in there too. I mean, kind of like, which came from. Oh my gosh, I'm, I'm, after this, I'm, I'm off to pot to, to pitch a movie on a franchise that I feel like it'll happen. If there's a chance of there being a sequel, if there's a chance of being a sequel, they will just be like, that's it. That's the one. Oh God, I hope so. And this is a pre-existing thing as well. Um, I don't have a script. This is a pitch, but. But no, no, you can't, but it's a franchise. No, I didn't. It's a pre-existing franchise. Yeah. And they want to put more, you know, when you see that now, I just went to see this third quiet place movie. And when you see the first quiet place movie, you're like, okay, spoilers, it's been a few years, keeps giving us, but you're like, oh, they killed a protagonist. Great. And then you see the second quiet place movie and it's super creative and you get it, you get how that's a sequel. And then it's like, oh, quiet place, day one. And, you know, I think having Lupita Young go in a movie definitely helps no matter what. But how is this going to work as a prequel? I think it really works as a prequel. And I think there's still lots of quiet place movies that are able to be told. And I enjoyed it as much as the other two. Um, this is like that, right? Yeah. So this is like that. If I were to pitch quiet place for this afternoon, that's what it is. Geekscapes. It is not that garbage. It's definitely not what it is. You're a fan of it though. Yeah, I know a lot. A lot of it. In fact, I like things. I like, I primarily like horror with a little humor in it too. I don't think, I don't think I can do the ones without, right? Yeah. If in no offense to the A24 stuff, no offense to maybe some of the Blumhouse stuff. But when you're raised on the man with your surname, pretty crazy. Would you raise on Jason? Yeah. 80s, 70s, 80s horror, you know, it's got to have humor to it. Yeah. We just have Sandy Carpenter a few months ago. May on the show. She was at one of the Comic Con Revolution. And we had her for a bit. She's been on the show before she came back on the show. And obviously she had a hand. She and her husband and a lot of those things. Oh, yeah. And Sandy is funny. And I think it's important to be funny. And I know you, Jim, I've been to your place for comic book, get-togethers, and you're funny. You have stories to tell. Sometimes you talk to no offense executives. Sometimes you talk to creatives. Sometimes you talk to people. They're not always funny. I don't know if there's storytellers in them. I hit a brick wall sometimes with some of these meetings. You go in and you're like, and I'm like, oh, they're numbers people. Okay. Well, we need numbers people. That's good. I don't know why I'm meeting with them. Well, and I've said this in other interviews, but it's like in a creative sense, this is show friends, but then when you have numbers and lawyers and all that stuff, it's show business. And it's both. But the whole process of collaborating is creating something together with someone. And hopefully that's fun. So yeah, I'm so not into these really slow burner horror movies that then are bumbers at the end. Yeah. You know, I'm just kind of like, oh. What did you say about humanity? And that last one, except leaving me with a hole in my gut. And now I have to go outside and deal with the actual reality I was trying to escape from. Yeah. Like, make me scared and make me laugh. What were those first couple? And they make me wonder a little bit. Well, I mean, what were those first couple for you? Like growing up? Yeah, just take it. What were those first couple? It was. Well, it wasn't like my parents didn't let me go to see, you know, the horror movies of the 70s. I had to see all that stuff later. But I would usually see my horror films like on TV. And it might have even been a black and white TV because that was the only kind that my parents would let me have in the room. But they had this old black and white TV. But if you're watching my living dead, that's the way to watch it. Yeah. Yeah. So I think my first, there's 13 ghosts, the William Castle movie with the ghost viewer. There was that. And I think what I loved about it is that the ghosts were the friends of the little kid or the ghosts were dangerous and scary, but they were friends of the kid. So I loved that. I think the second invisible man, the second invisible man where it's Vincent Price is trying to clear his name and it's almost again monster as hero. And then the third one, which is still my all-time favorite horror movie is, and depending where it was released, is Curse of the Demon or Knight of the Demon, the Jacques Turner, who came out of all the Val Luton stuff. That's just the best movie ever. Dana Andrews plays the hero who's trying to disprove a satanic cult in England. And in the midst of it, it's so smart, so well directed. I cannot recommend enough. I'm gonna have, that's the one of the ones that you, that's the only one of the three that you mentioned that I have not seen. And I'm probably getting yelled at by our other podcast here on the network's horror movie night, because they're like, what have you, how have you not seen Knight of the Demon, but what you're, what you're talking about and giving the. Who can I, can I go grab my Blu-ray? It's right here. Oh, please don't. Please don't. Please don't. Yeah. And Kings gave us who are listening to this on audio. He's going to show me a Blu-ray. It's okay. We do that sometimes. I still am buying physical media. If we're doing physical media, if we're doing physical media, look what I grabbed the player. Robert, oh my God, I love, I love, so much still. It has no relation to what you were talking about, but, but I'm like, I just had it on my desk. I was like, I can't wait to watch this again. Yeah, amazing. So this is Knight of the Demon and that monster is like whenever you see monsters and they collect monsters, it's like famous and people used to, you know, the original Jacques Turner really didn't want to show the monster. He was kind of forced by the studio, but now it's so like iconic. Yeah, thanks. Thanks. I needed that word too. It's so iconic. You can't like not, not just see it and feel like, oh my gosh, this movie's back. I'm going to watch that one and there's something to be said for the sympathetic villains, right? Obviously when Frankenstein tosses that girl into the pond, it's brutal. It's just horrifying. Work for the girl. It's just, it's just a really great, it's the best beat in the movie. His piece with the little girl, in my opinion, that piece with the little girl is such a romantic piece of that film, to take it towards something that's a little more, I don't want to judge it. I'm not going to judge the stuff, but Gamera, when you're looking at the Kaiju stuff, I always loved Gamera, the flying turtle, not just for the silliness of a flying turtle, but he loved, he was the one that like kids loved. He was the cosmic turtle from the children all over the world. I still remember, I still remember that scene. I think it's in the second one where it seems like Gamera's dead and they have to go into Gamera's mouth and into his body to get the stuff. And I remember this mom and I hated her so much because the kids are like, we have to save Gamera and she's just like Gamera's dead and drags them away and I'm like, you're dead lady, you're dead. And I think Heidi, my wife is starting to appreciate all this stuff as I really start setting her into some deep pockets of nerd. We've only been married, not two years yet, but we've known each other a little longer than that. I've sat her down and recently, I said this in the last episode, she watched all of the crippled masters, the old Kung Fu movie with the people who literally had disabled disabilities, Geeks gave his ones missing arms, ones missing legs, and they kind of team up to get revenge. And you should look at it. Yeah, I love it. I love it. I love it. Yeah, I love that movie. And I had her sit down and then she watched the Ultraman movie that was on Netflix recently, Ultraman Rise or Rising where he has to, you know, he takes out a Kaiju and then it's left with an egg and it's kind of, it's a little bit spider-verse in the animation. Union Turtles made him in the animation, so it's got like a cool attitude to it. Yeah. But it's a nice fatherhood Ultraman movie where he's stuck with this baby Kaiju. And now he's like, what the heck do I do about this? And I think that's part of the Kaiju language. And one thing that Heidi always says when she sees a new Kaiju movie, it's the thing that's like really blatant with a lot of Kaiju films is they're not the monster, we're the monster. But then when you add that aspect of a monster being sympathetic towards the weakest, most vulnerable among us in society, then you start to opening up to, I think what may have led to your love, I'm just going to psychoanalyse you here, Jim Dorem, about it, sit back. Oh, don't worry about it. But Superman. And I get furious when people say Superman is boring, Superman has no weaknesses because the immediate response everyone should have is Superman has four billion weaknesses because of the amount of his heart. Superman is a constantly running, ticking clock hostage crisis. And think about just that aspect alone in the sorrow he must have on the inside. At any time he's probably hearing 10 people cry for help and he has to choose which one he he responds to, which means there's nine others who haven't. In fact, that's what I think the true motivation for the Justice League being formed should be Superman can't be anywhere everywhere at once. So he creates a Justice League. I think that's amazing. And I think when you're growing up and then you're starting to get the inklings of writing and you don't have to pick film or comics. Geeks gave us like you don't have to film any, you don't have to pick any real lane. And you were in New York at NYU shortly after I was at Columbia, New York for film. And it was a unique time like post like 9/11 happened a week into me like moving to morning side heights. Like I remember still being on the I was on the futon mattress. I hadn't yet gotten a frame. And I was laying there on my computer dial up and I start hearing on the news of 9/11 and then right up somewhere window Broadway and it's just coming heading down towards where you will soon be at NYU. And like the New York just kind of shifted, right? It was like making something in New York. It was it was really strange. And you shot like some when we're talking about your film, they might be dragons. You did that for NYU? Was that like a bollock? That was like a bollock 16 like a reversal film? You shut that up. Do I know my end there? I love this stuff. Um, and literally I watched the film. I go, oh, this is NYU. He didn't have sync sound because that's ridiculous to have when you're running around out of a bollocks. It's a pain in the ass. You're not going to sing sounds. You're going to keep the crew low because you don't want a big guy. You know, some of this might have to be stolen. Which is why I did, you know, internal motor internment. Yeah, monologue and narration. And then just added in all the street sounds, all the things. I thought it was great. I think it's great. Oh, yeah, I'm super proud. I'm super proud of it. It's super smart. And, uh, I'm banding back and forth with another producer right now. And, uh, and I love you, Chris White. Chris White's great. He did a great movie called Electric Jesus. And, uh, and we're banding about another project and has our right script to train stripped down a lot of stuff. I love, by the way, that, that, that you made a plug for Electric Jesus. Have you seen Electric Jesus? No, no, no, I'm just thinking that joke and you're coming into your time for that joke. Well, uh, the film's really good to escape as Chris has been on the show about it. Um, and, and, and I just, I just, I, I write in a production sense. And I think that all those hurdles are opportunities for creative solutions. And if anything, like ask yourself, would the script, no offense to actors and their ability to deliver? That's not what we're talking about here. Would the narrative, would the story have been good if it had fallen out of internal monologue in prose, which is a really nice prose piece? It, it works almost as a podcast, audio drama, two geeks gave us a, but not, not to take away from the visuals. Some of the visuals are really cool. But if, if an actor had to deliver it, some of that rhythm would have changed. Oh yeah. Oh yeah. I mean, if it was in a monologue, if your monologue had been married to dialogue, the guy who played the part isn't, isn't the guy who did the voiceover. Right. No, I still look at it. Yeah. Yeah. So where's your next movie? This is a big set up. This is a big set up. No, no, no, no. What's, what's really interesting is, I was at a dinner with, well, some directors that we all know and, and I pitched them this idea and they said, wow, we love that so much. That's, and then they were all like, cheers, cheers to an idea. You wrote it right away or is already written? No, it's, it's not already written. I might have, I might have lost my musical partner for it because I want to do it as a musical. So I may have to find someone to then write, write it, but it, you know, it's about Pinocchio. It's a great idea. And someone who claims to be Pinocchio, which fits with the dragon thing, modern day. Yes. Modern day, but, but someone who claims to be Pinocchio. So like the dragon movie, I love when my characters, my narrators could be, could like be full of it, not because they're lying, but because they believe so hard. You know, I think it's, I think it's Don Quixote and the wonders we see in the world when we look at it in different ways. It's not the, the jerk, right? Like the beginning of the jerk is amazing because it's like one of the best examples of an unreliable narrator, right? Totally. I love that the opening of the jerk is, is so much fun and another one that I love. And I think it's a perfect short film Geeks gave us the beginning of Raising Arizona in the release. It's so good. Yeah, it's so good. You don't even have to watch the movie, just watch the opening credit where it says Raising Arizona. And you've already seen a perfect short film. It just also happens to be a perfect intro to a feature film. But the unreliable narrator, and then as I'm watching this, that's why you keep watching to find out if they're an unreliable narrator or if there's, if, or if we live in a world that we deep down on a believer, right? Well, and that's, that's, that's why, I mean, to, like I'm so excited to talk about, you know, they might be dragons because I haven't really talked about it a lot. But that's why, you know, I'm talking about filming right now. That time in New York, they had those giant spider exhibits. That was crazy. Like in the middle of the thing. And, and there's that statue that, that he walks across of Atlas holding the whole world on his back. And even the gun shop has that, that suit of armor. And I'm like, Oh, he's convinced his boss is a dragon. I can glad there are all these hints of the whole world's weight on him. The knights, you know, spiders as he walking into a trap. And even the thing with the, with the garage store. Yeah, that like, I was totally thinking well, I was thinking, she loves layer with the spiders, right? Like you're going to go and you're going to meet this, you know, because my favorite, of course, is the hobbit. Right? That's my favorite book growing up as a kid. It may still be my favorite book of all time, but when I see the spiders and you're trying to look for any clip clues, right? You're listening to this person talk about slaying his boss because his boss is a dragon. He's been laid off. And you think maybe he's just a disgruntled employee is going to come and get revenge on his boss. But he's tracking his boss down the street, geeks gave us a six minute short film. You got to go see it. And and you think he's just going to plug his boss with his gun he just purchased because he laid him off. But then these little hints and those spiders were such like a such a lucky piece of just that what what coincidence that that was still in New York. And I thought I shall love Slayer and in the hobbit or you know, that's so cool. And like that's what I was hoping would be happening like like it opens with this ridiculous thing. Guy can't even put even his own bullets in his gun and his he thinks his boss is a dragon and he's going to go on a quest to hunt down the boss and kill him. But then in the midst of it with the statues and the spiders and the this and this, the hope was to make our world seem a little bigger, a little more mythic and kind of take people like so that the audience was moving along with us that what if this guy's right. Yeah. And the thing about Pinocchio, it's built on a character whose nose gets longer when they lie. Yeah. And if you're building on the same kind of themes of an unreliable narrator or someone who knows the truth and we don't and Pinocchio literally has a barometer on his face while he's telling the truth. Oh, I should say right now, if you haven't read the comic Pinocchio, Vampire Slayer, it's so amazing. That sounds great. It is so amazing. And where it goes, it's so, so great. Like, I thought it was just going to be this dumb little idea. The idea is he goes into town, Vampire comes up, he tells a lie, breaks off his nose and uses it as steak. Yeah, you can do that once or twice, but it'll get. Yeah. And that's how it opens and that's a blast. But then unexpected depth and greatness in that book. No, I had never heard of it. Jim, like, whose book is this? I think with slave labor graphics that put it out. Let's talk about the comic industry. I'm about to launch. I'm about to announce a comic geekscape. I'm not going to launch the Kickstarter until LA Comic Con about there. But you guys will know about the comic and the impending, the upcoming, I'm just not going to do a Kickstarter while my baby's born, but we're going to announce that it's coming at Comic Con and you'll be at the booth for three of our days at Comic Con, Jim. The indie landscape, right? Like, I find myself no offense to Marvel, no offense to DC and the need to keep doing overlapping story arcs and these crossover events. Like, I get it. I get the metabolism that they need to feed. But the indie comics landscape is kind of really exciting. There's just so much of it. There's so much of it that like a book like this, Pinocchio Vampire Hunter, how am I going to find it? Slave labor. How are they going to get, how are they going to get space on a shelf? I think, and I've been having this conversation multiple times. Now, I think it's about curating. It's about telling people, "Oh, you need to read this. Oh, check this out." This was actually really great. "Oh, you like vampire stories?" This is going to seem like a joke, but read it. It's actually really great. Jim, when comic bookstores are closing, there's three comic stores that are recently closed just in the LA area. I got a house of secrets, but we had one open Valencia. We had the Krusty Bunker, Neil Adams Store. Is that officially closed? I don't know. I mean, I hear that they're... Okay, don't want to start a rumor. Geeks gave us if the Krusty Bunker's still there. Go support it. But Earth 2 closed. That was a big visible closing. Who will be those people who curate for us? Well, what's really interesting is I was really lucky early on in Milwaukee, Wisconsin to make friends with the guys who run the comic shops. These guys were guys that I would give my very first scripts to read, and they would. Comic scripts? Yeah, comic scripts. For different projects I was thinking about or playing with. They would always tell me things to read. They would be like, "Oh, check this out. This really... Like James Huddell and Dan Burden's Psycho is probably my favorite Dan Burden thing of all time." And they were like, "Read that." And then they were like, "Okay, Ted McKeever's Metropole. Read Metropole." And that was amazing. And then it just became a book like, again, I think the key to everything is becoming friends. But sometimes I go into comic shops now, and I'm like, "What do you like that's out? What's really good?" And they don't know. Wait, they don't even try their own product? No, no, they won't try their own product. They'll take me over to what are their best selling books? Not the same. Nope, not the same. That's not the same, right? Yeah, more of trying to make a sale or level of blood. That's fine. I mean, I know that everyone has to do a job. And if we get to do our jobs working in comic shops, how great is that? Like, that's just fantastic. It was my first job. My first job in high school was working on the counter of a comic store. And I loved it. I mean, I took it a bit for granted because it came with a social stigma that I wasn't ready for in high school as the guy who worked in the comic store. And I did not want to be just the guy. I mean, I wanted girls to notice me. They weren't going to come in there. And it was the mid-late 90s. So, you know, it had to... Think about that. Thank God that manga changed that manga brought up. Oh, two-nommy. And that stuff exploded it. And it may be also wrecking American comics in a big way, too, regardless of these giant IP. But manga and anime is so stratospherically more popular than the American comic book scene. I hope it's not holding the shovel for it. Like, I hope it's not the thing that buries us. I hope there's room for multiple art forms, or else we also don't get the European ones. We also won't get the Asian... Other Asian ones, like the Indian or the South Americans. I've seen some really great South American stuff with the Incan influences, Mayan influences in it. And you're just like... Oh, yeah. That's probably why I love Jack Heard Me's Eternals in the first place, all the Mayan Inca influences that were in that second Black Panther movie, but I wanted them in Eternals. I wanted them badly in Eternals. I wanted them to play a part of Reckoning in the fourth Thor movie when you see one present outside of Azusa's thing. There's a witnessing Eternals. You know, this is funny, and it's a bit of a pushback for people who didn't like that Eternals movie, which it doesn't matter if I like or don't like things here because it just doesn't. But there were things I always appreciate about anything. The Frozen Sentinel, at the end of Eternals, can be witnessed in the brand new Captain America New World Order trailer. You see Falcon flies past the Frozen TMAT, I think, was the name of that Eternal that was climbing out of its birthing there. And you see it frozen and Falcon flies past it. Yeah. At least in a glimpse of the trailer. It's so, so cool. I thought that trailer was great. Geekscapes and people have been ringing the death now for Marvel and the MCU for a long time. Sorry, Deadpool is going to pull that rug out from one of you folks, and I'm sorry. You're getting more of this stuff for a long time. Yeah, thank God. I'm so excited. I'm so stoked. Yeah. And then the the Captain America New World Order looks fantastic. It looks like a lot of fun. Yeah. No, I'm really excited too. And I'm excited for people to discover more facets of Captain America. Isaiah Bradley, Sam Wilson, even John Walker. Yeah. Both the successful and flawed ones. Yeah, right. Who's the dude with the American flag on his face from born again? From there. Oh, uh, nuke. Oh man. Could you imagine if we end up getting nuke and this day and age in America. Well, Jason Aaron wrote that one five issue mini series that was cap versus nuke. Could you imagine if we get a nuke on an MCU and what it would do to audiences who are in this polarized environment of the United States, it like if you got a nuke on screen, someone with a blatant American flag running down their face who is politicizing violence. Maybe think of, you know, I just I revere Frank Miller so much. As you should. I just I just, you know, there's there's even thinking about that moment in born again when Captain America is more driven to stop him than than Daredevil is. And Captain America says, and dude, it was like why? And Cap says there's a flag on his face. And Daryl says, I didn't notice because of the way his right, you know, his radar sense is going to be a face paint. I was like, Oh, yeah, Frank, we just show the difference. That was so smart. And let's talk about that. And let's talk about those scripts you brought in to the that comic store, those early Jim Kruger scripts. What what what's what spurred that those first tippity taps at the typewriter to get you writing? Why did you choose comics as a did you choose comics or is that first impetus for writing or was it? No, no, it was actually copywriting. I was I was an ad guy. I was a mad man. You know, I did I did ads for, well, it was Wisconsin. So it's the Sheboygan cohort fishing tournament and things like that. I was I was writing ads for silo on loaders. You know, I was writing ads for teeth dip, which is what you rub on a cow's otters before you milk them. So there isn't so much facing, I suppose. Did you test the products to get an understanding of them before you wrote this copy? Like, how in depth did you go? I got to go and interview a couple farmers. And that was like they were all super fun. It was all about like eating and trying stuff and they're like, hair, try milking, blah, blah, blah, blah, but I didn't. They had to have to go yet. Yeah, but I didn't. And I tipped one. It is a real thing. Yeah, I have to go. I grew up in Texas. But you know, it's one of those things where I was doing that stuff. And then those jobs because of how business was even going in Wisconsin at the time, those jobs only lasted six months. But in those six months, I'd make some awards and I'd make some friends. And then I'd move on. And then finally, I was like, you know, Marvel's a business. And that made me begin to track down and look for people I could talk to at Marvel that ultimately I could go and start writing copy for them. And you were writing comics the entire time you were doing the teat treats. Yeah, yeah, I was all right. In fact, sometimes I'd even sneak to one of the addicts while I was there to read to read like the newest Hellboy or the newest Knights of Pendragon or Captain Britain. Oh man. At that point, we're starting to get the 2008 stuff where we the dread stuff has opened it up. I love slain. I think it's like the Hulk meets Conan. I think it's fucking awesome. That's a character that we haven't seen a lot. Venus or Zenith from 2008 is in my top five comics of all time. I just love it and reread it. It's top five. And we start to see the heavy metal stuff. We start to see the 2008 D stuff. We start to see even Marvel and so successful geese game is you get Marvel UK. You start to get those characters, you know, writers like Alan Moore may you heard of them start to, you know, start out doing the Marvel UK stuff. They start coming over. They've created stuff like Captain Britain, a bunch of that stuff that still exists in the Marvel universe still exists in the X-Men universe. And then they start coming over then Mike Richardson. And we talked about, I think I talked about concrete two episodes ago and Madman and how much I love the Mike Richardson what he was doing in the late 80s into the 90s and those boy stuff, the Mike McNullis stuff. What did that do to you? As at this point, you're now at Marvel. You're working in Marvel, but Marvel isn't going to put out Marvel books. And are you writing Marvel books when you get over there? I know you're a copy editor, but like, how do you move over? How do you go across the aisle? Oh, well, basically, well, my first job at Marvel was to promote Marvel's. Like, literally, I got to New York and then flew back to Milwaukee because that's where Gen Con was happening. And they were like, "Oh, Jim, why don't you take Alex around and introduce him to people and promote Marvel's and handout posters and stuff like that?" So I did that. And then that entire time, Alex and I would talk about like Kirby's machine man and dressing up as superheroes for Halloween and, you know, all those kinds of things. And we just became fast friends and just stayed in contact. And then there was a magazine in addition to the writing of the ads. I was still doing creating my own characters and stuff like that. But in addition to writing the ads, I would, you know, I would do other little promo things. Like sometimes there'd be, do you remember the Marvel mark? Of course. Would you write those like, those like Frosty Pie comics where like Daredevil's throwing like Frosty Pie as villains to try and get the movie? Yeah, I never did one. I never did one. Yeah, yeah, yeah. But it was more like, or if we were doing a promo for the new Raphael Canyon Conan and we had six pages to show the art, I'd be like, okay, I'm going to write an epic poem about Conan while we show the art in pencil and ink and colored. And so we would do these things and then some people began to see my writing and then Tim Tui began Marvel Vision, that magazine because Marvel felt they were paying too much money to Wizard for ads. So they're like, let's have our own thing. So we did that. And then in the midst of that, you know, I was able to score a really good budget. I would hire artists who I loved to reimagine one of the Marvel superheroes as if Jack Kirby or John Ramita or, you know, Steve Dico never did. And so they would. And sometimes just their design would suggest a different origin than you expected because the design looked different. And this is 95, 96, somewhere there. Yeah. And so then I start writing, I start writing alternate origins to go with those characters. And that became like Alex just loved it because every time we write an alternate, it still spoke to what that character was in the first place. And that was right about the time he was telling me his early ideas for Kingdom Come and all that sort of thing. And then I guess Wizard magazine and Foot soldiers had already come out. So like through loopholes and different things, which didn't make me friends all the time with with Marvel and people in the company because I wasn't because I wasn't in editorial because I wasn't. And because the project had been offered to them before, before I was able to do it at Dark Horse. And I could understand how some of these giant businesses want an exclusivity, right? Like you go to work for these places and they're like, hey, anything you write, well, you're under contract over here, like we're going to own it. But you managed to do right foot soldiers and get it out through Mike Richardson over at Dark Horse. I can see that would ruffle some feathers. Dark Horse has always been great for me. Dark Horse has always been great for me. You're double dipping over there. You're double dipping over at Marvel. Oh, yeah. And so when Kurt was, he did Marvel's with Alex, he's a fantastic writer and he takes some of that stuff and he's doing the city one. The one he, Astro City, he takes a lot of Astro City feels like a similar idea where it's like, okay, I'm going to reimagine my own superhero universe that's Astro City for Kurt. A lot of these designs, like, I was immediately thought of your redesign for the, for Ghost Raider, from Earth X and how he's a daredevil, right? Or that little, that character, right, the flaming Ghost Raider. And that's what became Earth X was you saying, okay, like these are the, let's pretend it go Lee, Kirby, things. And these are people you're worshiping, right? Yeah, Kirby stuff. I, if that's how that means Kirby, I would not be here if it wasn't for 70s Kirby. I would never cared. I would never cared. Geeks gave us, you guys know I like to do a lot of long distance running and it's hard to do that stuff without somebody to run with. I have a nice run group, one or two run groups here in LA that I, you know, we go and we go out for a couple miles and we'll run double digit miles. It's becoming increasingly hard. Geeks gave us for me to find a running partner because anytime so he runs with me, they end up hearing about the fucking Eternals. And I start saying like, Hey, listen, you got to understand every time an eternal dies, a human dies. So there's a regeneration machine. And the Eternals is this and they're like, Oh my God, Jonathan enough, like stop. I got to a workout on last Friday and we had to, we were doing a kind of fun exercise and you had to fill jugs with water and one of the, it was fun. You had to run a bridge repeats and every time you got to one, you'd fill a jug with water. It's kind of, it's a really fun workout. But one of them had Batman on them and I refuse to use it because, because you guys have heard my spiel and Batman just being a billionaire who embezzles from a publicly traded company to build siege weapons speed of homeless people and that he is the sole reason Gotham looks like a toilet. And it's a joke. Yeah. Oh, of course it's a joke. But somebody just goes fucking Jonathan with the Batman stuff like not again. Within two seconds of me mentioning I don't want the Batman cup. They'd heard it Geeks gave us. They've all heard it. They've heard my spiel's. You've heard my spiel's geeks gave us. Well, and if you can find it, I wrote a short Batman story from the, from the Caves perspective. His from the cave. The cave. Yeah, yeah, yeah. So it's like, it's like the giving tree almost where the cave is, the cave says, you know, all caves have mouths. Why don't we think we have voices and we go into young Bruce and this is coming a lot from the Miller stuff. Bruce being down in the cave and mom calling down to him that he has to leave and he's like, and boy, I wrote it. He's like, but mom super, you know, not Superman, but Zorro has a cave, Edmund Dante's has a cave and she says, well, Bruce Wayne does not. And he's, he gets out and stuff like that and we see all the bats around. And then the cave is like, and I didn't see him for a while after that. But when he came back, he was different. And we see him holding the blood, the blood stained white pearls while the cave is overjoyed that he's come back. And now there's no mom to tell him that he can't live in a cave or he can't be Zorro or he can't be Edmund Dante's. And it goes on that way, even if you go through the window. She's like, I sent one of my children to, to bring him here so he would know what he could be, you know. And, and so you see, like all that stuff, I was so excited because it's such a fairy tale. And that's the reason this rich kid, he makes bat based, like that sculpted speedboats and helicopters and stuff like that. It's because I think the wound on him was so deep, was so hurtful. You know, he's a rest of development. He's an arrested development superhero. And he recedes back in the darkness. Yeah. I think into the back of the cave where he still hears the echoes of his mom's pearls falling on concrete, you know, echoing through the, the, the poetry of it, right? Like getting this stuff. And are we still just justifying our childhood need for these stories? Does that make sense? Like when we were kids and people would be like, why are you still reading comics? And then you grow into adulthood. And people say comics, huh? As an artist, as a writer, a story like that is a pretty beautiful justification for why that character exists the way they do. Is it your own up artistic version of you at six, seven, eight, telling people why you still read comics instead of collect baseball cards, etc? I don't know the. But it's beautiful stuff. Because the writing, the writing kind of takes over. And, you know, but it's like when I clean my kitchen, I feel a certain, I feel a kind of like, I feel better about myself that I clean my kitchen. And, you know, I think it's cool, those things that kind of make me feel better. Like, like, I think of writing a story as if it's a mystery, as if there's. You want to crack it. You want to crack it. Something there's something in it that once you crack it, you feel like, Oh, yeah, I stumbled upon something that wasn't there before. And that's kind of a magical experience. It's the drug. Sometimes, yeah, sometimes it's a piece of dialogue. Sometimes it's a moment. So a project that I have coming up that probably won't be out for a while yet from Gungner is I'm writing three novels where I do to the Peter Pan mythology, what I did to Earth X. That's cool. I figured out, I figured out the way to do Peter Pan. And I am not arrogant in any way, but I think it'll be the best Peter Pan story ever told. It's prose. Yeah. Okay. Okay. We'll be looking for that one. We'll be looking for that one. I always played with the idea. I'm doing a lot of prose these days, all of a sudden. What's that about? You don't like to collaborate with people anymore? No, no, I love to collaborate. In fact, the guy that named Wellby that I did that no one's with, which I love, but not many people know about, and then Marvel's X, the prequel to Earth X, which I'm just going to spoil becomes the secret origin of the daredevil of Earth X that you mentioned. I love that daredevil of Earth X. And then we did another big superhero story called The Heart of the Hero. And his art, I just keep on wanting to work with him on everything. But when somebody like Stevie Okie comes to you, and I've had that happen. I had a conversation with my producer earlier today, where this producer we met with, we love this producer, he's been on Keatscape. Came to me with two stories that he's burning to tell. But he was like, they're not cracked in the way that they're cracked, like the aha moments haven't happened yet, at least not on his end. And he brings them to me. And he says, this is kind of what I want to do. I think this commercially could work. I think this could really, I think this is exciting. I think it's a story that needs to be told. But like, I describe it as cracking rocks. I'm like, I just, how do you crack rocks? Like, and sometimes you just do it with brute force. Like, sometimes you just write a lot of sludge. Yeah. And you go through the sludge. And you know, you're like in the river Tim's, you hear those people with the mud boots who go through the river Tim's, and you're looking for coins from the 1600s. It's like, but that's kind of like what a lot of writing is, when somebody brings you something like that, where it's not your story, it's somebody like Stevie Okie. And he's got this story. And he's like, I want to do this story about heroes, my middle name. It's me kind of as a child. It's a superhero, saves the world, etc. Jim Kruger's got to crack that rock for the collaboration, right? You're not going to pass that up because Steve's probably a pretty awesome. It's a good opportunity. It's very visual or visible. It's a high-profile deal. How hard is it to break rocks or the fact that he's an artist maybe helps? You know what? It's like whenever a project like this comes up, Steve didn't bring me all the nuts and bolts of the project. Here a quest. Yeah. There wasn't like a full-on skeleton yet. It was just like, there's this and there's this and I think this is going to happen on here. And here's the music I was writing that I want to relate to it. And so it was like I was given 20 pieces of a 400-piece puzzle not knowing what the look is going to be. But they're going to be there. Yeah. Right. We've got to do there. And seeing, seeing, okay, if I put this here and I put this here and I put this here, could all this stuff work in such a way that I begin to see it. And then in the midst of that, you know, every chapter sent to Steve, outlines are sent to Steve. I'm letting him know what the big look of it is and then he's interacting and he's telling me how he wants it to end with hero and how do we do that? And you know, we're working it out. So it's very collaborative. It's very back and forth. But, you know, I had to do it when he saw me. I mean, I was, I was at a show that he was at and went to see him in the green room. And this was after, this was after Neon Future, like this was maybe last year and early last year. And he just came in and he goes, "Oh, Jim, I'm so glad you're here. I need someone to write a book about these characters I've been working on." And that's how it worked. That's a pretty, a pretty easy interview. You write that job interview is perfect. You walked out there being like, "I think I got the gig." Yeah. That's hilarious. That was amazing. When you, like when you're still in the 80s and in early 90s and you're going to make the leap into this creative field, you're doing all this stuff, again, who were the people that you start to model these scripts after? Who were some of the writers? Again, maybe you're getting the influence from your comic book people and the people who were in the comic book store. Who's frameworks did you start to look at? Did you just throw yourself right into full script? Did you even know that without the internet, you got some kind of final script? I did full script right away because it was even, it was like using an image or a picture with words and stuff like that was part of, you know, that visual poetry and lyrical poetry of telling it. And so I wanted to do full script. But it was all, it was all Alan Moore and Frank Miller. Alan Moore and Frank Miller, I mean, Sandman didn't do it for me, really didn't do it for me, until I heard the radio drama. And then I thought it was the greatest thing ever. I think those, the book adaptation stuff, or the book reading of like stuff is never where ever his universe stuff is, those are really, when he does his own readings, I think this was great. Yeah, it's really fun. And then I most like, well, Neil Gaiman, we're talking Neil Gaiman. We were talking about the stories. I most like his short stories and kid stuff like Coraline and graveyard book and wolves in the walls and all that kind of stuff. But as a college student, I don't mean to age it too much, but it's out there on the internet. But like as a college student, as somebody who's starting to get his feet wet, maybe you're, you don't want to write another damn tea data again. The more stuff, and then Frank Miller stuff is the stuff where you're like, but you pick two of the giant, the giants of it. There's nobody, there's nobody bigger than those guys at that era. They weren't even giants that. In the, I mean, they were talking about dark night returns and swamp thing era. And I would even, I would even think Miller Daredevil is more influential. Sure. And you're like, I could do this. What the hell? You know, seeing story colors being a liar, and we begin by lying to ourselves that we can do it. Is this a theme with you, Mr. Krueger? Or is this a theme? Why go to NYU after you've had a bit of a career, you've had Marvel's, you've, you've had Earth X. No, you didn't have Marvel's, no Marvel's. You've had Earth X, you've had so many books. You've had just this. There was a long, I had, well, I went to NYU after Earth X. Right. Why? Between Earth X and universe X. Because I was in the back of a bus going, going home from Marvel to Montclair, New Jersey, where I used to live. And this was, this was foot soldiers, like well before Earth X. And I was looking at it, and I started talking to a guy next to me. And the guy was like, oh, what's that? And I, he's like, what's that project? And I said, oh, it's foot soldiers, story of these three teenagers that go to the graveyard where all the superheroes are buried, and they rob the graves. They find out how hard it is to, so he's like, oh, interesting. So he gives me his card. And he said, you know, me and my partner make some films. You know, I'd like to show this to him, see if we can't get in the business together. And then it turned out, I said, what have, would I have seen any of your films? And he said, I'm Michael Eustle, and I produce all the Batman movies. We've had Michael on the show many times. Yeah. You sat over here on this couch. Oh, he's so cool. Michael's great. Michael's great. And so, and so, and then that went into, he got it set up somewhere. But then, because the nature of the studios is that presence are always moving and executives are always moving. That's how so many projects get lost along the way. The project got lost, but then Michael still loved it so much that he said, Jim, give me a free, free option for the next year. But I think you have it in you to write film. So I'll teach you how to write a screenplay. So then I got two lids from Michael for over a year on that. And he's the one who taught me how to write screenplays. It's not bad. Geeks gave us, you guys going, if you're, this is your first Geeks gave, you can go back to the feed and find Michael for about a year or two. We sat on the couch over here and talked Batman and in some of the stuff. And guys, I'm critical of Batman, as I've told you. I think he's a pulp character who like secret ward himself into the new world of superheroes, right? Like I think he really is like beautifully there with like the phantom and the shadow in these characters. And then somehow he survived the dying world of the pulps. And he ended up in amongst the superheroes and he's still hanging tough with everybody. And Michael, and that's always been my take is like, he's a pulp hero that somehow survived the dying universe of pulps and ended up in superhero comics, which is kind of cool. And how did Michael respond to that? I didn't say that to Michael, but what Michael said to me was because I always think that I would love to write a two phase story because of the dichotomy between Bruce and two phase because they're the only Bruce knew two days before he became Batman before two phase became two days like they know each other. Yeah, two faces a story of what what what would have happened if Bruce had had gone. And so two phase discovering Bruce's identity would be so incredibly destructive on a personal level. And like he could take him apart. I always think of two phase as like the strongest nemesis for for I love two phase. He's romantic to me. But Michael is a Joker person, which is the darkness on the inside, the light on the outside, which is the reverse of the dichotomy for Bruce. And when he said that, I was like, Yeah, you better than me at this Batman stuff. Yeah, you're the Batman guy. I got you, Mike. I saw him at Comic-Con last year. He came by the booth and we hung out for a little bit. Oh, that's awesome. Michael's great. And I'm just really thankful for for geekscape for putting me in this whole sphere with people who are filmmakers and comic creators because your boy couldn't get himself arrested when he started this stuff. And now we're getting ready for the middle of our 18th year and geekscape 700 of probably a thousand episodes of this point and 40 podcasts across our network. It's a lot of fun, man. And signing at the booth next year or next week, Jim's at our booth. He's got three days on the schedule. I'll publish the schedule. I'm waiting on one more person to confirm and then I'm publishing the schedule of geekscape. So it'll be out on all of our channels. If you search for geekscape on any social media, et cetera, you'll you'll find us. You'll see the schedule. Anything special for you coming up in San Diego next week that you want to shine a light on? Well, I'm part of the return of the human fly. You know, the Marvel's character of the 70s, there's a there's a company out of Australia and they're doing they're beginning to launch that book. So I have like four human fly scripts coming up, but it's kind of the only Marvel book that hasn't been collected since. That's cool. You know, they're like, well, Marvel had a joint copyright with the actual human fly because he was real. And so there's there's that and then there's an announcement of a book that's coming out at the end of the year that I've been working on for years, but it's part one of a book. Part two will come out next year. Prose again, but short stories, but something I've been dying to get out for years and years and some really sweet and sappy stories if it's like Christmas tree sap, but but but not but not. Right. Well, there's a little bit of a twist with you. Mr. Kruger always has to have a little bit of a puzzle. There's always going to be a little bit of subterfuge with you. Oh, well, yeah, you need the line. You need the unreliable narration of it all. You love that stuff. Yeah, you like that. Yeah, I do. You like some people. There's nothing up your sleeves and then a couple am. Yeah, well, it's it's it's it's the Alan Moore thing. He said on the BBC Meistro channel. Did you see the thing? He said, no, no, here is the most important thing for every writer to be and goes honest. And then he goes, no, I'm lying. That was his answer. Yeah, I think that's amazing. Well, listen, we're going to see you next week. Come by the book the previous night, say hi. It's the only time we're going to see me, Jim. I'm sorry. Yeah, if I can be back in my bed at 11 8 or by 1 a.m. that night, I'll be nice and rested when I sit down in the theater for some Deadpool over in here in LA. But the booth will be there all weekend. Geeks gave us some Jim will be there for Friday, Saturday for Thursday, Friday and Saturday. Yeah, I think I'm going to or yeah, Thursday, Friday, Saturday, I'll be there. I think I'm just going to bring some some prints and print up some special prints that I'll only have 10 of each kind or something like that. Brother, I love that. Whatever you need. Whatever you need, Matt Kelly and the Geeks will take care of you. Geeks gave us, you know, where to find us right here on this feed. Subscribe to Geekshare with your friends. Leave us those five short reviews. They help our visibility. So people go, oh, yeah, I've heard of you. Oh, come on, that'd be fun. Jim, I appreciate you coming on the show, man. It's been great talking comics. We really nerd it out together. Awesome. Yeah, I know. I was really happy. Great. Thank you. Best place for people to follow you. Probably Instagram. It's I'm Jim Krueger. There's going to be a website up later on this year and I'm working with some amazing people who are even talking about building that because there's other talk of other things coming out from that same company. So. Well, Jim, good luck with your meeting. I hope that it's a green light. I hope they send you straight to script and all that. And I think this is no, this is not the room. I can sell it the room. Oh, sell it in the room. Sell it in the room. There will be beer. I guess that's okay. Well, Jim, I'll see you next week. Thanks for coming on Geekshape and Geekshapas. Don't hate create. You know how we do. We'll see you in San Diego and keep yourselves looking at all the Geekshape channels for some exciting news and Geekshape 700. It's coming your way. Thank you guys. Peace.
Jim Krueger has written everything from comics to video games to films and advertisements! In the world of comics, he might be best known for his collaborations with artist Alex Ross on DC's 'Justice', Marvel's 'Earth X' trilogy, and more! Or maybe you know him from his original titles like 'Foot Soldiers' or his work on licensed properties like 'Star Wars' and 'Buffy the Vampire Slayer'! Regardless, you're now gonna know him as Geekscape Guest Jim Krueger, both on the podcast with this episode and next week at the Geekscape San Diego Comic Con booth! Join us as we talk with Jim about writing comics, Kaiju, sympathetic horror villains, collaborating with Steve Aoki, what keeps him writing, and much, much more!
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