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.

Not all art is love at first sight. This week, we spotlight the hard-to-get artists — those acquired tastes who confuse you before they convert you.

In the conversation, we celebrate bold originals like Richard Corben and Tony Salmons, unpacking how their styles challenged comic readers and pushed boundaries within the medium. Beyond the panel borders, we cite rule-breakers Ralph Steadman and Jean-Michel Basquiat, alongside surreal giants Frida Kahlo and Salvador Dalí — artists who proved that being “strange” isn’t a flaw, it’s a feature. We also swap stories about artists who weren't our cup of tea when we were younger, and how second and third looks turned skepticism into respect.

Then we ask the hard stuff: Does great art require effort from its audience? And is it okay if some art leaves people behind?

Since the 1980s, mainstream comics has had more than its fair share of superstar creators. But for every Chris Claremont and John Byrne, there have been hundreds of writers and artists quietly doing good work month after month. On this episode, we’re celebrating those “blue-collar” creators—the ones who may not have been treated like stars, but wrote and drew good-ass comics.

We champion Silver Age talents like Gardner Fox, Curt Swan, and Jim Aparo, whose contributions helped define entire eras, before moving into more modern-day workhorses—Mark Bagley, Norm Breyfogle, Lee Weeks and more—who kept the trains runnin' and the stories comin'.

Along the way, we ask: how did the rise of organized fandom affect a creator's overall popularity? What's the difference between a blue-collar creator and a hack? And why are inkers, colorists, and letterers almost always relegated to blue-collar status?

The recent passing of Sal Buscema brought this topic into sharp focus for us. Sal spent decades doing essential work for Marvel, often without the same spotlight his brother John received. This episode is, in part, a tribute to him—and to all the creators who showed up, did the work, and helped build the comics industry we love.

We're starting off the New Year racing against the clock with movies that unfold over the course of a single day—or night. From sunup-to-sundown classics like Dog Day Afternoon, to 24-hour pressure cookers such as Sinners, to noir thrillers that take place fully at night like Panic Room, we break down how filmmakers make limited time feel limitless. We also discuss comedies that utilize this format—Ferris Bueller's Day Off and The Hangover, as well as action films, including Judgment Night and Collateral.

Along the way, we ask why audiences are particularly drawn to stories about "surviving the night," how screenwriters raise the stakes with only hours to work with, and whether some genres pull off the “all in one day or one night” trick better than others.

The holidays are a time for looking back, so this week we’re doing exactly that. We’re talking about the ones that got away—the Sidebar guest interviews we sought out that never quite happened. We won’t spoil every name here, but let’s just say David Mazzucchelli, Jeffrey Jones, and Bill Sienkiewicz were among the many heartbreakers (kidding… mostly). We close out the conversation with a wish list of guests we never even got the chance to invite on, such as Serpieri, Claire Wendling, and Walt Simonson.

Looking back on this era reminded us just how magical that run was—a stretch when incredible creatives were joining us week after week, and we loved every minute of it. So, join us for the final pod of 2025 as we walk down memory lane and share a few behind-the-scenes stories.