WEBVTT

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Happy 54th anniversary or birthday, whatever,

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to Kamen Rider, the TV show from 1971 featuring

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Takeshi Hongo becoming a grasshopper cyborg man

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and fighting against the evil shocker organization.

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Yeah, which is incredible. It's been 54 years.

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There's been a ton of spinoff shows or sequel

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series, whatever. And Kamen Rider has been something

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that's captivated me for the last, I don't know,

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15 -ish years, 14 to 15 years. I discovered,

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I knew about Master Rider and I... You know,

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I watched Master Raider as a kid, some of it,

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but not all of it. It wasn't that great, but

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I tried. You know, I've tried. Anyway, going

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back, though, to the original Kamen Rider, I

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started watching that about 14 years ago. I saw

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that. I saw Black. I saw Forze as it was going,

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or as that started. And I watched all of Forze,

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and it blew my mind. I watched this, and it blew

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my mind. I watched Black, and it blew my mind.

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And, yeah, like, Kamen Rider's great. And I want

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to talk about the first episode because in light

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of the anniversary, I thought, you know, I should

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give us another watch. So I went ahead and watched

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the first episode and I have lots of thoughts

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on it. And then I have some stuff from the Kamen

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Rider Wiki that I'd like to discuss real quick

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because it's kind of fun and relevant to the

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current year. And there's also some news you

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could say that might also be relevant as well.

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So, yeah, I think. Yes, I think this is going

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to be a fun one. So we will talk about all that

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in a minute or two. But first, I want to go ahead

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and just kind of talk about the show overall.

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And here we go. Well, actually, just like kind

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of a first impression of the show. Like, do you

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think little kids watching Kamen Rider back in

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1971 totally had the tragedy and horror elements

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of the first episode go over their heads? Or

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do you think they really absorbed it? Because...

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As much as I love the spectacle and the fighting

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and everything, I think there's something really

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deep and emotional going on with the show, and

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I think that's the real reason that it's persisted

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for all these years, because I think it's got

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meaning. It has depth to it, and that depth,

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I think, stirs people and keeps them watching.

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Even if the, you know, body's dissolving into

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foam, don't keep them watching. But anyway, like,

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I'm sure the Spider -Man, Spider -Kaijin, whatever

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he was called, like, was scary. And they could

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tell that the scientists were scary with their

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painted faces and their weird poses and stuff.

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And, like, the Shocker Combatmen, too, are creepy.

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And the women, the Shocker Ladies, Shocker...

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What do they call them? I think they call them

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the Shocker Ladies. But anyway, like, they're

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all creepy walking in slowly in a group and giggling

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and stuff with their hair covering their faces

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and, you know. weird weird vibes um but like

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i don't think they picked up on the existential

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dread that uh takeshi hongo has to face or does

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face and that he's is like dropped on him uh

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in this first episode because in very little

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screen time they do a lot to his character and

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i think that's really interesting um like i don't

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think i think it's good that Kids don't necessarily

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pick up on the existential thread, but looking

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back at it or looking at it as an older person,

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you can see as an adult, you can see like, oh,

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this is horrible. What's happened to this guy?

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But like, I'm sure the kids were wowed by the

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spectacle and the fights and the racing and the

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cars and the jumping in the motorcycle and all

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that stuff. And the crazy monster suits and costumes

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for the Shocker guys, including, you know, the

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Spider -Man or Man -Spider, whatever you're going

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to call them. I'm sure that was all like really

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working on them on a base level. But I wonder

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like how long it took for kids to go back and

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see like. This depth that it had to it, because

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it's more than just, you know, monster suits

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and stuff and fighting and explosions. Um, in

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fact, I think zero explosions in this episode,

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if I'm correct. Anyway, um, yeah. So I think

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it's interesting that the episode works on like

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this basic, you know, kid level where you get

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to see writer, you know, destroy shocker. at

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least, you know, for now. And you know that he

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has an ongoing struggle and you, you know, want

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to see him fight the next monster, even if you

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don't really care about Takeshi Hongo, you care

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about Kamen Rider and watching him fight because

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the fighting is beautiful. It's like, it's beautiful

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violence. And anyway, that's like one level.

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But beyond like just the spectacle and the flash

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and like seeing it at the surface level, this

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episode has a lot of interesting elements. And

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I think there's like horror elements, there's

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drama. There's action spectacle, and then there's

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pathos, which maybe pathos should be part of

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drama, but I'll jump back into that. Something

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I thought about as soon as I finished the episode

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was it's really interesting that the first image

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that we see is a flower, and behind that flower

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is the mysterious Spider -Man cyborg. He's stalking

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Takeshi Hongo as he races on his motorcycle,

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and then the last image that we see in the episode

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is Takeshi Hongo. He's riding off on his motorcycle.

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He's a cyborg now. He's one of Shocker's cyborgs

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specifically. He's riding through the mountainside,

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which is a natural. And we see he's on this machine,

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his motorcycle, and then we see his face and

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his face is sad. He's almost crying because of

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what he's lost and the loneliness that he feels

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because of it. But the camera cuts away from

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his face as he rides towards his destiny to continue

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fighting Shocker. And I feel like that's really

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profound and really deep. And I feel like that,

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like those two, like the opening and closing

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image kind of like. They encapsulate the whole

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episode and the whole story, really. And they

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also kind of fit with that horror, drama, action

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spectacle, and pathos kind of, I don't know,

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breakdown or whatever that I saw when I watched

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this episode this time. So on the horror, we

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get a lot of POV shots that are very voyeuristic,

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and we see also very voyeuristic aspects of scenes

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where... one of the shocker people, whether it's

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the Spider -Man or one of his goons, is watching

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Hongo, he's watching Ruriko, watching Tobe Tachibana,

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or whatever. He's watching different people.

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They're watching different people at different

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times. And also, we get these really interesting...

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So we get those shots of them spying on people.

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And then even, like, there's a little spider

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tracker thing, camera microphone that's on the

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back of Tachibana and Tobe's car that signals

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the Spider -Man and tells him where to go and

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what to do and whatever. So... And that's a cool

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little bit of tech and, like, an interesting

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thing that this cyborg spider guy has little

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cyborg spider things that he can throw out and

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use for spying and stuff. Like, that's a really

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cool, like, world -building aspect that I didn't

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even think about to touch on. Because the world

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-building here is pretty cool, too. And that's

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more of a bookish term, but I think it works

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for shows like this. Anyway, we have all this

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voyeuristic spying stuff going on. And then we

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also get, beyond that, seeing characters spy.

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We get to see characters through, like, spying.

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on stuff through their own eyes so the camera

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is acting as the person who's watching this go

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on this creeper this villain this evil who's

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stalking and waiting to kill somebody and i wouldn't

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say it really puts the viewer in their shoes

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but it feels creepy it feels unsettling because

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we know that they're like hiding somewhere and

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watching and then we also get a lot of scenes

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where the camera is right like behind like the

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spider -man's hand is here and he's wiggling

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his fingers and stuff and being creepy and at

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one point it's cool he's wiggling his fingers

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then he like gestures out and then fog appears

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and then within that fog ropes appear or webs

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appear and those stop hongo so like that's a

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cool mixture of like it's it's a cool old school

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tokusatsu technique it's just using uh like the

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cutting of the camera from one image to another

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and it makes your mind think that's the way film

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works that these two things are linked to each

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other that one causes the other the smoke comes

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out then the webs come out in the next cut and

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it's just it's really interesting how like tokusatsu

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really uh leans into a lot of cool filmmaking

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stuff which obviously you probably already know

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um And it's just kind of fun to talk about. And

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it's fun to watch in action to know, like, okay,

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I'm watching a 1970s Sokosatsu. This thing's

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54 years old. And they either couldn't afford

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to do things a certain way or they hadn't figured

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out ways to do them or, you know, whatever you

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want to say. They had limitations that they were

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working within. And within those limitations,

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you get to see. And you get to kind of, like,

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play along and have fun with them and, like,

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engage your own imagination on purpose to say,

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like, oh, I see what they're doing. When he does

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this, he's standing on his web. There's fog first

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for some reason. Then there's the webbing and

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the rope and it stops Hongo. And then Hongo falls

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off the cliff or whatever. And, like, oh, how's

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that work? And how does he survive? And Midori

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-kawa's all sad. And, like, you get to see this

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little drama play out in this little scene. And

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it's, you know, ridiculous on the surface. This,

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you know, guy in this kind of ridiculous... I

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mean, the head is... I actually like the suit.

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I think the spider suit... The web cape is not

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good. I think stripping away the web cape is

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a good decision. But other than that, I think

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it's a really solid design. And we get to see

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this, you know, kind of outlandish design for

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sure. I'll say it's outlandish. And I don't think

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that's saying it looks cheap. It's just, it's

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crazy. Why would you wear that? But if that's

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what you've been turned into, that's another

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story. Anyway, it takes this outlandish design

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and then it puts it through, you know, this physical

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motion. And then we see the effect of the fog

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and the ropes and everything, the web coming

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out. And it just, it all works together. You

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get to play along and you get to participate

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in the storytelling kind of with tokusatsu, I

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feel like, especially the older stuff with the

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lower budget or the greater limitations, I'll

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say. But it all works and it all feels really

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good and it's really enjoyable to watch unfold.

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But anyway, getting back to my point about...

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the horror aspect, like this POV kind of camera

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where like he's watching stuff happen. Um, and

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like you get in that perspective of the monsters

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is really interesting. And there's even like

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a psychological horror going on where like the,

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when Hong goes, uh, chained down to the table,

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the operating table, um, the scientist is going

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on about how, like he's making these people into

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cyborgs and these cyborgs will be slaves to,

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um, To whoever this mysterious voice that's speaking

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and he almost feels like he's like The envoy

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of that person or like he's speaking in his stead

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and he's not because we realized that there's

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something beyond him but it's just like it's

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like creepy how cold it is how inhuman it is

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how Inhumane it is and how like it's all just

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about power for these guys And they're gonna

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do whatever they have to to whoever they have

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to and hurt them no matter how much they have

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to in order to get what they want it's just really

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like very effective uh casting of the villain

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and it shows the horror of that ambition that

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greed for power that lust for power at any cost

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and it's really horrible anyway and then we have

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all this drama going on with um Hango, it looks

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like he murdered Professor Midorikawa to Ruriko,

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Midorikawa's daughter. And so it's kind of like

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a tragedy and he's been framed kind of for the

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murder and she blames him, holds it against him.

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And she's, you know, frightened of him and hateful

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towards him. And Midorikawa is one of the two

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people in the world who could. understand him

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and know what he's going through partially because

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he caused that to happen which is another tragic

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twist type element um and you know it's a more

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dramatic thing to happen other than he just gets

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turned into stuff by a random happenstance um

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instead it's somebody who he should have trusted

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or did trust for a while and was trusting again

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who had betrayed him and hongo got over that

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and then uh this guy's murdered right in front

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of him and then he gets blamed for the murder

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which is horrible uh and then tobi tachibana

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is still left for him to to trust in and confide

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in and you know nothing's happened to him so

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far in the show um but then you have that conflict

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with midori kawa with ruriko um and that's interesting

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and uh there's even like uh you know when ruriko

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finds out that her father's alive she's so hopeful

00:11:24.919 --> 00:11:26.600
she can go see him because he's been missing

00:11:26.600 --> 00:11:28.879
for a long time so like you kind of feel for

00:11:28.879 --> 00:11:30.779
her because oh she's gonna see her father again

00:11:30.779 --> 00:11:33.580
um he's kind of haunted by what he's done he

00:11:33.580 --> 00:11:36.360
feels haunted when hongo seems to have died later

00:11:36.360 --> 00:11:39.700
on so like You know, these people took their

00:11:39.700 --> 00:11:42.700
job seriously, it seems to me. And I'm perceiving

00:11:42.700 --> 00:11:44.759
that they tried really hard and they really emoted

00:11:44.759 --> 00:11:46.620
and they really made this stuff real. They really

00:11:46.620 --> 00:11:50.299
sold these scenes of the drama. Midori Kawa,

00:11:50.460 --> 00:11:56.139
Ruriko, and then Takeshi Hongo as well. the actors

00:11:56.139 --> 00:11:57.700
who are portraying these characters really did

00:11:57.700 --> 00:11:59.620
a great job of, like, just leaving it all on

00:11:59.620 --> 00:12:01.379
the screen, on the page, whatever, on the field.

00:12:01.440 --> 00:12:03.440
Like, they really put it out there. And, like,

00:12:03.440 --> 00:12:05.139
I really believe in this little drama that's

00:12:05.139 --> 00:12:07.000
going on between them. And it's a lot of fun.

00:12:08.779 --> 00:12:12.220
Let's see. Yeah, the action spectacle is just

00:12:12.220 --> 00:12:14.580
fantastic. I mean, you've got Hongo throwing

00:12:14.580 --> 00:12:17.179
people down a cliff. You've got him falling down

00:12:17.179 --> 00:12:18.899
a cliff. You've got this, you know, man spider

00:12:18.899 --> 00:12:21.379
throwing a web rope thing up and hopping up the

00:12:21.379 --> 00:12:23.279
wall. And it's really weird. And, like, the...

00:12:23.450 --> 00:12:25.990
camera like the changing of the the speed being

00:12:25.990 --> 00:12:28.210
adjusted and tweaked as they're doing stuff and

00:12:28.210 --> 00:12:30.230
like these far away distance shots these close

00:12:30.230 --> 00:12:32.669
-up shots these dynamic cuts to make it look

00:12:32.669 --> 00:12:34.710
like hongo's lifting him and two other guys up

00:12:34.710 --> 00:12:37.450
in the air on a staff or like a recorder stuff

00:12:37.450 --> 00:12:38.529
type thing and then throwing them down to the

00:12:38.529 --> 00:12:40.110
ground and so it's just like it's all really

00:12:40.110 --> 00:12:42.730
fantastic it's very energetic it feels very visceral

00:12:42.730 --> 00:12:45.509
um and like i would imagine people might have

00:12:45.509 --> 00:12:47.590
gotten hurt doing this like the stunt team really

00:12:47.590 --> 00:12:50.690
is like They're laudable for what they did. It's

00:12:50.690 --> 00:12:53.049
amazing the depth or the length they were willing

00:12:53.049 --> 00:12:56.870
to go to make this feel real and to be really

00:12:56.870 --> 00:12:59.070
dynamic and super exciting to watch. Like, I

00:12:59.070 --> 00:13:00.889
could just watch these. I have just watched these

00:13:00.889 --> 00:13:03.490
fight scenes before, just for fun. And, like,

00:13:03.570 --> 00:13:05.129
it's no wonder that in the, what was that, the

00:13:05.129 --> 00:13:09.710
2022 Hiyaki Anno Shin Kamen Rider? Like, no wonder

00:13:09.710 --> 00:13:12.409
he reshot some of this stuff shot for shot and

00:13:12.409 --> 00:13:15.250
wanted to pull the stuff. It's iconic. It's creepy.

00:13:15.350 --> 00:13:19.399
It's weird. It's wonderful. Well, yeah, it's,

00:13:19.399 --> 00:13:22.840
it's very exciting. Um, something that I, uh,

00:13:22.960 --> 00:13:25.059
want to talk about a lot. Well, I kind of touched

00:13:25.059 --> 00:13:26.879
on a little bit when I was talking about, um,

00:13:27.019 --> 00:13:32.220
Hongo being alone. Uh, and I have a short that

00:13:32.220 --> 00:13:34.200
I'll link to that talks about that a lot more.

00:13:34.820 --> 00:13:38.799
Um, the pathos, the pain, the, like the sorrow

00:13:38.799 --> 00:13:41.279
that our hero has to bear is really interesting.

00:13:41.519 --> 00:13:44.480
And, you know, in Ultraman, you know, he effectively

00:13:44.480 --> 00:13:46.259
dies in the first episode, but then he comes

00:13:46.259 --> 00:13:49.289
back, but then he gets better. And then he is

00:13:49.289 --> 00:13:51.889
just kind of like, yeah, I'm alive. I defeated

00:13:51.889 --> 00:13:53.350
that monster. I don't want to let people know

00:13:53.350 --> 00:13:55.649
that I'm Ultraman, but I think I'll call him

00:13:55.649 --> 00:13:59.490
Ultraman. And, you know, then he proceeds to

00:13:59.490 --> 00:14:02.929
do whatever. And there's nothing wrong with Hayata.

00:14:03.110 --> 00:14:06.490
I like him. He's fun. Super Sentai, I don't have

00:14:06.490 --> 00:14:08.750
a good basis for looking back on it, like early

00:14:08.750 --> 00:14:11.690
on, like GoRanger. So I won't say too much about

00:14:11.690 --> 00:14:15.200
that. I do think, though, that like... Aka Ranger

00:14:15.200 --> 00:14:18.379
in the Go Ranger manga has a lot of pathos that

00:14:18.379 --> 00:14:20.639
he's dealing with. He's a very emotionally young

00:14:20.639 --> 00:14:22.580
man, very sad about the things that have happened

00:14:22.580 --> 00:14:24.299
in his life, and he wants to defeat the Black

00:14:24.299 --> 00:14:27.659
Cross Army because of that. Cyborg 009, again,

00:14:27.700 --> 00:14:30.159
I'm not as familiar as I could be, and I'm not

00:14:30.159 --> 00:14:32.600
saying Takeshi Hongo in Kamen Rider is unique,

00:14:32.799 --> 00:14:36.100
but he's definitely a very potent and powerful

00:14:36.100 --> 00:14:38.779
version of this story, of this suffering hero,

00:14:39.000 --> 00:14:42.320
of this burdened hero, this person who's weighed

00:14:42.320 --> 00:14:44.980
down by what's happened to them. The wonderful

00:14:44.980 --> 00:14:49.220
thing about him is that before we see things

00:14:49.220 --> 00:14:53.139
get to be their worst for Hongo, we get to see

00:14:53.139 --> 00:14:56.120
what a great person Hongo is. He doesn't blame

00:14:56.120 --> 00:14:59.600
Midori Kawa for having referred Shocker to him

00:14:59.600 --> 00:15:02.720
or suggested that Shocker kidnap him. He seems

00:15:02.720 --> 00:15:04.100
like he's totally forgiven him and it's not even

00:15:04.100 --> 00:15:06.080
an issue anymore. And he wants to help the professor

00:15:06.080 --> 00:15:10.299
and join him in fighting against Shocker. He

00:15:10.299 --> 00:15:12.159
also has a positive attitude and he's encouraging

00:15:12.159 --> 00:15:15.179
the professor to... like calm down and not blame

00:15:15.179 --> 00:15:17.659
himself and to you know be positive basically

00:15:17.659 --> 00:15:20.820
and that they're gonna somehow work things out

00:15:20.820 --> 00:15:29.139
together and um he like kind of not naively but

00:15:29.139 --> 00:15:33.759
just like he brazenly continues to push uh ruriko

00:15:33.759 --> 00:15:36.519
and tell her i am innocent and i didn't you know

00:15:36.519 --> 00:15:38.519
kill your father i was trying to save him and

00:15:38.519 --> 00:15:40.500
i think that's a little bit of his optimism as

00:15:40.500 --> 00:15:43.740
well um You could argue that it's not and that

00:15:43.740 --> 00:15:46.080
I'm grasping at straws here, but like his portrayal,

00:15:46.080 --> 00:15:49.299
Hiroshi Fujioka's portrayal of Hongo in these

00:15:49.299 --> 00:15:54.019
scenes, he's very earnest and he's very, I don't

00:15:54.019 --> 00:15:57.480
know, he's just like extremely positive and optimistic

00:15:57.480 --> 00:16:00.279
despite what's happened to him. And I find that

00:16:00.279 --> 00:16:02.059
really endearing and really wonderful and really

00:16:02.059 --> 00:16:03.860
inspiring. And I think it's a really interesting

00:16:03.860 --> 00:16:06.019
take on this kind of character. He's not dark

00:16:06.019 --> 00:16:07.460
and brooding. He's sad sometimes. He's mostly

00:16:07.460 --> 00:16:11.679
sad when he's riding his motorcycle. But I feel

00:16:11.679 --> 00:16:13.840
like he's processing things as he's doing that.

00:16:14.159 --> 00:16:16.659
And he's doing, you know, the one thing that

00:16:16.659 --> 00:16:18.460
they weren't able to take from him was his ability

00:16:18.460 --> 00:16:19.779
to ride the motorcycle. I don't know if he can

00:16:19.779 --> 00:16:22.200
still feel the wind or not in the same way, which

00:16:22.200 --> 00:16:23.679
would be an interesting thing to explore and

00:16:23.679 --> 00:16:25.840
get into. But like without being overly, you

00:16:25.840 --> 00:16:27.879
know, emotionally overwrought, like it sells

00:16:27.879 --> 00:16:31.659
to you and it tells you, it makes you feel and

00:16:31.659 --> 00:16:34.620
understand Hongo's pain and what he's going through

00:16:34.620 --> 00:16:38.159
and what he's lost. And yet he persists. Nevertheless,

00:16:38.259 --> 00:16:43.250
he persists. And it's really beautiful and awesome.

00:16:43.429 --> 00:16:46.149
I think that positive spirit, that spirit of

00:16:46.149 --> 00:16:50.169
perseverance, is part of what makes Kamen Rider

00:16:50.169 --> 00:16:52.830
so special. I do think it is the redemption aspect.

00:16:53.690 --> 00:16:56.490
Like, Hongo wants to redeem himself or be redeemed

00:16:56.490 --> 00:16:58.269
from what's happened to him, and he fights for

00:16:58.269 --> 00:17:01.049
that. And I think those two things together make

00:17:01.049 --> 00:17:04.289
Kamen Rider lasting and beautiful and an important

00:17:04.289 --> 00:17:07.630
story, I would argue. Okay, now, real quick,

00:17:07.710 --> 00:17:09.670
I just want to talk about who's doing what here

00:17:09.670 --> 00:17:13.410
in the credits. We've got, because the direction

00:17:13.410 --> 00:17:15.670
was so fantastic, I just want to talk about Koichi

00:17:15.670 --> 00:17:20.470
Takamoto was the director for these two episodes

00:17:20.470 --> 00:17:22.230
only. I guess just the first two episodes, the

00:17:22.230 --> 00:17:24.369
eerie man spider and the monstrous scorpion man,

00:17:24.490 --> 00:17:28.190
which seems wild because it was such a fantastic

00:17:28.190 --> 00:17:30.390
dynamic style and that style continues. So I

00:17:30.390 --> 00:17:32.190
guess just all the directors were really amazing

00:17:32.190 --> 00:17:34.569
at this time. Everybody who worked on the show,

00:17:34.609 --> 00:17:37.289
anyway. It was episodes one and three, I'm sorry.

00:17:37.529 --> 00:17:39.930
Episode two was directed by somebody else. And

00:17:39.930 --> 00:17:42.369
I'll just check and see if I can find out. Yeah,

00:17:42.410 --> 00:17:46.230
somebody definitely else. An Orita. But the writer

00:17:46.230 --> 00:17:52.390
for this episode was Masaru Igami. And Masaru

00:17:52.390 --> 00:17:56.329
Igami is... Oh, hold on. Where did I... Masaru

00:17:56.329 --> 00:17:59.839
Igami is the father of Toshiki Inoue. and the

00:17:59.839 --> 00:18:02.440
grandfather of Akiko Inoue, and Akiko Inoue is

00:18:02.440 --> 00:18:06.640
currently writing, um, number one Sentai Goju

00:18:06.640 --> 00:18:08.960
-ger, uh, which people seem to be loving, and,

00:18:09.059 --> 00:18:13.200
uh, Toshiki Inoue, uh, wrote, he wrote Kuga,

00:18:13.279 --> 00:18:19.420
right? He wrote Jetman, and, hold on, I gotta

00:18:19.420 --> 00:18:20.819
find this, he's got a lot of Super Sentai credits.

00:18:29.319 --> 00:18:32.519
Okay, hold on. I know he wrote Faiz, but what

00:18:32.519 --> 00:18:36.940
else did he write? Well, he wrote a decent amount

00:18:36.940 --> 00:18:38.920
of Kuga. He was the head writer for Agito. That's

00:18:38.920 --> 00:18:41.400
what it was. He wrote a decent amount of Ryuki.

00:18:41.460 --> 00:18:43.720
I did not realize that. And he's the head writer

00:18:43.720 --> 00:18:46.220
for Faiz. And there's a moment in this episode

00:18:46.220 --> 00:18:51.440
where, like, basically, Takeshi and... and ruriko

00:18:51.440 --> 00:18:53.380
have a misunderstanding and they don't get to

00:18:53.380 --> 00:18:54.940
talk about it and clear it up and that's like

00:18:54.940 --> 00:18:57.480
kind of a joke or a shtick from fives that nobody

00:18:57.480 --> 00:18:59.299
talks about things and clears things up and like

00:18:59.299 --> 00:19:01.400
all the problems of the show could be solved

00:19:01.400 --> 00:19:03.579
people say who don't like fives by the people

00:19:03.579 --> 00:19:05.059
just sitting down having a conversation instead

00:19:05.059 --> 00:19:07.339
of fighting and i find it hilarious that that

00:19:07.339 --> 00:19:09.319
started with his father in episode one of common

00:19:09.319 --> 00:19:12.299
writer anyway that's pretty much it um Check

00:19:12.299 --> 00:19:13.920
out my show notes. Go to mjwinners .com to find

00:19:13.920 --> 00:19:16.759
out more about what I'm doing. I'm going to be

00:19:16.759 --> 00:19:19.180
getting back to Gov as far as Comrade is concerned,

00:19:19.380 --> 00:19:21.880
and I will continue to cover the original Comrade

00:19:21.880 --> 00:19:23.859
because I love it and it makes me happy. So,

00:19:23.900 --> 00:19:29.809
yeah, that's what I'm going to be doing. Yeah,

00:19:29.890 --> 00:19:32.829
oh, I'm also working on getting my book published.

00:19:33.049 --> 00:19:35.549
It's called Mockwing Mayhem. It's about magical

00:19:35.549 --> 00:19:37.690
bugs who battle monsters, and those monsters

00:19:37.690 --> 00:19:39.049
find out where they live, and they go there to

00:19:39.049 --> 00:19:41.450
kill them all. And two of the in -training bugs

00:19:41.450 --> 00:19:43.970
have to, magical bugs, have to figure out a way

00:19:43.970 --> 00:19:46.410
to survive, to defeat a monster, to save their

00:19:46.410 --> 00:19:48.750
master, and then hopefully not die to the rest

00:19:48.750 --> 00:19:50.910
of the flock that is attacking their fort where

00:19:50.910 --> 00:19:53.450
they live. It's pretty cool. You can get a free

00:19:53.450 --> 00:19:56.609
chapter, or no, you can get a free short story,

00:19:56.730 --> 00:19:59.859
and you can get... information about when it's

00:19:59.859 --> 00:20:01.200
going to come out and other bonus feature type

00:20:01.200 --> 00:20:03.920
stuff in the show notes or go to mjmunoz.com

00:20:03.920 --> 00:20:05.799
you can find all the links there until next time

00:20:05.799 --> 00:20:06.619
folks take care and be well