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It’s all there in the title, right? On today’s episode, we came up with nine examples of what we’re calling… good-azz comics. These are books we read in our youth—some seminal moments in a character’s history, and others simply monthly installments that we happened to love. A few of the issues covered in the discussion are Uncanny X-Men #123 featuring the villainous Arcade; Action Comics #436 where Perry White temporarily gets superpowers; and Captain America #350 with a retired Steve Rogers squaring off with John Walker. On the pod, we define exactly what makes a comic a good-azz comic, dig into why these issues resonated with us as kids and do they still hold up, and celebrate creators who made it their mission to deliver good-azz comics month after month. We wrap things up with a big question: Is there such a thing as a universally loved good-azz comic?

We’re back with another installment of our series celebrating talented creators who don’t always get the recognition they deserve—and this time, we’re shining the spotlight on comic book artist Jim Aparo. From his early days at Charlton Comics working alongside Dick Giordano, to his celebrated career at DC Comics, Aparo established himself as a consummate professional on books like Adventure Comics, The Brave and the Bold, and Batman and the Outsiders. On the pod, we explore some of the highlights of his career, including landmark stories like "A Death in the Family" and "Knightfall." We also sing Aparo’s praises as a draftsman and storyteller, and note his remarkable ability to work as penciler, inker, and letterer—a true triple threat!  And then we get into the fun part: Where does Aparo rank among the all-time great Batman artists? We put him head-to-head with Neal Adams, Tim Sale, Norm Breyfogle, and more. 🦇

When John Byrne was given the creative reins of DC's The Man of Steel, he reimagined Superman for a new generation, redefining the character while challenging long-held assumptions about who the Last Son of Krypton was and what he could be. In the final installment of our 1986 series, we trace Byrne's career leading up to The Man of Steel, explore the sweeping changes he made to Superman's mythology, debate whether the series represents his peak as a writer-artist, and ask how Byrne's remarkable body of work from the '80s stacks up against that of contemporaries like Alan Moore and Frank Miller. *Stay tuned for a hidden bonus pod near the end of this episode where we shout-out a few honorable mentions from 1986 that weren't included in the series.

The fourth installment in Sony Pictures and Marvel Studios’ Spider-Man series is finally here, and of course, we’re all over it. Spider-Man: Brand New Day has swung into theaters as both a critical and box-office smash, raking in a billion dollars in just six days and boasting a 90% score on Rotten Tomatoes. On the pod, we nerd out over all the comic book goodness packed into the movie, including the cameos from Tarantula, Tombstone, and Ramrod. We also dig into the film’s surprising lack of a true central villain, the controversial introduction of Jean Grey into the MCU, played by Sadie Sink (Stranger Things), and debate whether this is Tom Holland’s most evolved performance yet as Peter Parker—and Spider-Man. Then we build a quick Spider-Man Hall of Fame before tackling the question on everyone’s mind: Are movies back?

Frank Miller is one of the most influential—and controversial—creators in comic book history. With the release of his new memoir, we couldn't wait to dive in. Part autobiography and part creative playbook, Miller reflects on the defining moments of his life and career while pulling back the curtain on the storytelling techniques behind some of comics' most iconic works. In the conversation, we unpack our biggest takeaways from the book, revisit Miller's unforgettable stories from Daredevil, The Dark Knight Returns, Sin City, and beyond, and delight in his candid recollections of 1970s New York City, learning from Neal Adams and collaborating with industry legends like Jenette Kahn and Dick Giordano. Along the way, we ask the bigger questions: What surprised us most? What did we learn about Miller's creative process? And were there important moments from his remarkable career that he chose to leave on the cutting-room floor—for better or worse?

After all this time, is there anything else that can be said about the Watchmen comic series by Alan Moore and Dave Gibbons? On this week's pod, we sure give it our best shot! We compare the endless stream of Watchmen adaptations to the ever-expanding sprawl of the Star Wars universe. We debate whether Watchmen singlehandedly created the modern lens through which everyone now views superheroes. And we try to determine if Watchmen only functions as the ultimate deconstruction of superhero mythology, or if it can be read simply as a superhero mystery story. Closing out the conversation, we ask a big question: has Watchmen become the very cultural phenomenon it warned us about—something endlessly commodified, repackaged, and mythologized?

Frank Castle returns, wreaking havoc on those who got it comin' in this action-packed, one-shot special on Disney+. Co-written by the man behind the skull himself, Jon Bernthal, One Last Kill finds Frank trapped in a high-rise tenement, dispatching bad guys after a bounty is placed on his head by an enemy with a personal score to settle. On the pod, we discuss how this special fits into the larger Punisher universe first established on Netflix, break down what works—and what doesn't—and spotlight a few of One Last Kill's guest stars, including a memorable appearance by Bernthal's own daughter. We also compare key plot elements in the special to The Raid 2 and debate how this version of the Punisher might fit into the MCU proper ahead of Spider-Man: Brand New Day.

Have you ever been exposed to radiation and walked away all the better for it? Or maybe you have a coworker who’s secretly an alien from another planet… and thankfully, one of the good ones? On this week’s episode, we examine the thin line between the iconic and the absurd as we rank the best—and worst—superhero origins. We talk about why, as kids, we were so obsessed with where these heroes came from—so much so that Marvel and DC built entire issues around origin stories. We debate the scientific accuracy behind how our favorite characters gained their abilities, while also exploring what truly motivates them. For instance, Batman and Spider-Man are driven by loss, while Captain America and Wonder Woman are fueled by duty and a sense of mission. Along the way, we ask a few questions: Have certain superhero origins been rebooted too many times? Do heroes like Zatanna and Ghost Rider feel less “super” because their origins are rooted in magic and the occult? And why do some origin stories sound completely ridiculous when reduced to a single sentence: “Scientist makes himself tiny… on purpose.” Special guest: Ernesto Figueroa.

Back in 1966, a little science fiction show boldly went where no television series had gone before. To celebrate the 60th anniversary of Star Trek: The Original Series, we assembled a pod dedicated to the show that changed TV with its swashbuckling adventure, big ideas, and thoughtful morality tales. We discuss the initial vision for the series and the unforgettable cast who brought it to life — including William Shatner, Leonard Nimoy, Nichelle Nichols, and the rest of that legendary bridge crew. Along the way, we revisit our favorite episodes like “Amok Time” and “The Enemy Within,” and explore why these stories still hold up.  We also shout-out parodies and homages to Trek like Galaxy Quest, Free Enterprise, and the chilling Black Mirror episode “USS Callister.” So grab your communicator, set phasers to fun, and join us as we celebrate sixty years of Star Trek: The Original Series! Special guest host: Warren Drummond (Los Angeles-based storyboard artist and author of "A Hard Day's Work.") Special featured guests: RobinTreks, Harley M, and Thomas N. Perkins.

It was bound to happen eventually, right? As longtime cinephiles (and, sure, a little snobby about it), we finally turn our attention to the state of modern movies and TV. On this episode, we dive into what today’s film and streaming landscape gets right—and where it leaves us scratchin’ our heads. There’s a lot to love: the convenience of firing up a movie at home without tracking down a physical copy, and shorter streaming seasons with storylines that actually pay off. But not everything gets a pass. The success of a crowd-pleasing, throwback film like Project Hail Mary comes with a demanding two and a half hour runtime. And how did we end up in a world where every cast feels like a superhero reunion? (“Wait… is that Killmonger and Electro starring in a courtroom drama with Captain Marvel?”) Along the way, we ask some bigger questions. How has second screening changed the way we engage with movies and TV—and even how they’re made? Are filmmakers and showrunners now compensating for a distracted, at-home audience? And would ambitious, big-budget shows like Severance and The Last of Us even exist without the rise of streaming platforms?

When Frank Miller wrote and drew The Dark Knight Returns in 1986, he didn’t just reimagine Batman—he detonated the character and rebuilt him inside a grim, dystopian Gotham City. This installment of our “1986: A Landmark Year in Comics” series revisits Miller’s bold reinvention of Gotham’s protector. On the pod, we recount the buzz in the mid-’80s when Miller took on one of DC Comics' flagship characters, the editorial freedom he was given with TDKR, and the immediate fan and critical reaction to the story. We also debate the controversy surrounding inker Klaus Janson's work on the book, as well as the endless array of TDKR homages (and rip-offs) seen over the years—including the recent Absolute Batman. And we tackle the big question: Is The Dark Knight Returns the greatest Batman story ever told… or just the most influential?

In this installment of our series on groundbreaking releases from 1986, we’re spotlighting Maus, Art Spiegelman’s landmark graphic novel about his father, Vladek, a Polish Jew and Holocaust survivor. Written and illustrated by Spiegelman, Maus moves between Vladek’s harrowing wartime experiences and the complicated relationship between father and son decades later. Through the now-famous device of portraying different groups as animals—Jews as mice, Germans as cats—Spiegelman creates a layered story about trauma, memory, and survival. On this episode, we dig into Spiegelman’s background in underground comics, his exploration of survivor’s guilt woven throughout Maus, and his warts-and-all portrayal of, not only his dad, but himself in the story.  We also discuss the critical reception that helped elevate Maus beyond the comics world. In 1992, Maus became the first graphic novel ever awarded a Pulitzer Prize. Nearly forty years later, it stands as one of the most powerful works the medium has ever produced.

What happens when superhero comics get weird—like, really weird? On this episode of "Unsung Ink," we explore the world of Sam Kieth, a creator who bent anatomy, tone, and storytelling into something wholly his own. We dig into Kieth’s early days in comics, from his inking work on Mage with Matt Wagner to his memorable contributions to The Sandman alongside Neil Gaiman. From there, we discuss his underrated run on Marvel Comics Presents with Peter David—work that helped define his elastic, expressive style. Of course, no conversation about Kieth is complete without diving into his creator-owned projects, including The Maxx, Zero Girl, and Four Women—books that blended psychological depth and surrealism in ways that still feel ahead of their time. Following his passing on March 15 at the age of 63, we take a moment to reflect on Sam Kieth's legacy—a true original, and a voice in comics that can’t be replicated. Rest in peace.

Forty years ago, comics hit a turning point. Mainstream and indie publishers alike released a wave of bold, groundbreaking stories that reshaped the medium. This is the first installment in our series, “1986: A Landmark Year in Comics,” and we’re kicking things off with Daredevil: Born Again by Frank Miller and David Mazzucchelli. On the episode, we dig into the story’s brutal premise, as the Kingpin systematically dismantles Matt Murdock’s life, pushing him to his absolute lowest point before the long climb back. We also talk about how Miller only agreed to return to Daredevil after his iconic run if Mazzucchelli would pencil the story—and how Born Again helped set the stage for Mazzucchelli’s breakout work just a year later on Batman: Year One. Along the way, we touch on IDW Publishing’s Artist Edition of Born Again and how Miller’s Daredevil work influenced a generation of writers—including Brian Michael Bendis, Ed Brubaker, and Chip Zdarsky—who would go on to craft their own celebrated runs with the character.

For every hero soaring overhead, there’s a creator behind the scenes who deserves their shine. This Black History Month, we’re giving flowers to the Black writers and artists who helped define comics as we know it. From Matt Baker and Billy Graham, to Denys Cowan and Christopher Priest, to Stephanie Williams and Khary Randolph, we follow a creative throughline across generations. We also highlight pioneering cartoonists like Jay Jackson and Jackie Ormes—the first African American woman cartoonist. We talk about the first Black creators we encountered as readers—and what that meant. Did they change the way we saw the page? Or were they just doing what great creators do: making unforgettable, good-ass comics? This is Unsung Ink—a celebration of the names and faces behind the comics we love.