Dear Watchers: an omniversal comic book podcast

Rob: Welcome to Dear Watchers and Omniversal comic book podcast, where we do a deep dive into the multiverse.
Guido: We are traveling with you through the stories and the worlds that make up an omniverse, a fictional reality we all love. And your watchers on this journey are.
Rob: Me and me, Rob and Guido. We have an extra special guest conversation. So special the music can't even stop.
Guido: No, it's true. In fact, wait here.
Guido: This is how special our guest is. There we go. You didn't even say the name yet and they're getting excited.
Rob: Who is our guest? It is Luciano Vecchio.
Guido: It is Luciano Vecchio. So we are so excited. We've been waiting for this conversation since New York Comiccon, maybe even before that. But that was our opportunity when we got to meet Luciano. I've been a huge fan of his. He's done such incredible work at Marvel and DC. But in particular, those Pride anthologies, co creating the character of Psalmness, just really incredible stuff. And we recorded this right around the time that his creator owned work is out, which you're going to hear a lot about Sereno from Cex Publishing. So people should support that and just make sure you're following Luciano and supporting his work because he's great. And I think there's just so much more to come from him as an artist and a writer.
Rob: Yeah, and you got a commission from him when we saw him at New York Comic Con.
Guido: I did. And I was so excited.
Rob: I know. And if other people want a commission from Luciano, he is going to be at a whole bunch of, um, US. Cons in March.
Guido: And he shares that on the episode.
Luciano Vecchio: Yes.
Guido: And our commission, of course, was of Promethea, because he does incredible work with strong female characters, with strong queer characters. And it made so much sense. And we discovered a lot more connections to his love of things like Prometheus on this episode. That really was a surprise in the conversation that I was happy to discover. Uh, but what was something that you are still thinking about from our conversation with Luciano?
Rob: I am still thinking about how much he thrives on barriers, on structure in that way. And I'm always interested, as an artist, do you thrive on just getting to run wild and doing whatever you want, or do you actually thrive on having some constraints? So I loved kind of hearing him talk about whether it's the medium, whether it is being a collaborator, whether it's working with a preexisting character, how those constraints actually fuel his creativity. And in an era where sometimes you can put on a TV show and it's like 2 hours long for a single episode, it's like, OOH. I kind of like the idea of what is the power that can come from having some actual restrictions put on your work as an artist?
Guido: Well, and he had such an interesting and unique relationship to limits because even the medium, since he wrote for the Infinity Comic medium at Marvel, even the medium itself was a restriction at some point in his work. So it was cool to hear the way he related to all of those limits. Mhm. And I, uh, keep thinking about a few things, so I'm going to choose two. I'm going to cheat our system here. One is because I really appreciated hearing about his relationship to magic and spirituality, and then the way that related to his getting older and his greater understanding of the world, because I identify a lot with that. And people who've listened, especially to our spin off podcast on the Versatile, have learned that about me and my relationship to Promethea. And I've been thinking about also aging. When we were talking about and listening to the official podcast of The Last of US and the middle aged gay men that they depicted, uh, I've been thinking about aging and just what aging does to your relationship to yourself. And so that was really interesting to explore a bit with Luciano. But the thing that I think also most resonated that I can't stop thinking about is his answer, and I actually kind of don't want to spoil it about why multiversal storytelling might be really popular. We've had a lot of, uh, great answers to that question in discussions we've had with creators, and we've thought a lot about this. It's come up a lot on our show. But this discussion about why multiverseal storytelling might be so present in culture right now, I had not thought about, and it makes so much sense. So I can't wait for people to hear that part of our discussion, because, wow, I think that's correct. I think it's correct, and I want to know what our listeners think. So I'm not spoiling it. Listen in and tell, uh, us what you think, if that makes sense to you.
Rob: Mhm. So, without further ado, let's just jump right in. What a great build up. And with that, dear watchers, welcome to episode 86, and let's check out what's happening in The Omniverse. With today's conversation, we have an extra special guest that we are very excited to talk to. We are, yes. The writer, artist, and creator, Luciano Vecchio. Hello, Luciano.
Luciano Vecchio: Hello. Hi. Thank you for coming.
Rob: Thank you. I know it's later for you where you are, so thank you so much for joining us. We are super excited to jump into this conversation, but first, Gito is going to tell us a little bit more about you.
Luciano Vecchio: All right? Yes.
Guido: Luciano, we're huge fans of yours. Huge fans. And for our, uh, listeners who don't know, luciano has been a comic artist and writer for Marvel DC, and his creator owned work known at DC, I'd say for the Pride anthologies, and also Young Justice, the amazing series Multiversity Teen Justice last year, and a few other things. And at, uh, Marvel, of course, great covers for some of the major events recently, but also Ironheart and work on Wicked and Hulkling in the Pride issue, designer and co creator of Somnis, and writer and artist of the Iceman Infinity Comics. And also as a writer, you created Sereno and Sereno you've been working on, I think, for a number of years, and I'm excited to learn more about that, but is finally seeing print in English from Cex Comics. And right when this episode releases, the issue is either just on newsstands or about to be on newsstands. And there's going to be a forthcoming hardcover edition of it from Zoop, which I'm really excited about. And your independent work has also included the deck of queer heroes that we got at New York Comic Con from you, from Marvel and DC, some of your favorite heroes. And we had the absolute honor of getting a commission from you of promethea at New York Comiccon. We're big fans. Uh, I hope I captured much of your work. There's so much more, but that's pretty.
Luciano Vecchio: Much the most of it.
Guido: Great.
Rob: So we just kind of wanted to start. Luciano, so much of us are fans before we go into the art or what we're involved in. So can you tell us a little bit about your early fandom of stories of comics and really any kind of other media?
Luciano Vecchio: Yes, uh, well, I have an older brother. Uh, when I was little, I already had access to his collection of comics. Um, so it was mostly DC Comics pre crisis, uh, early 80s era. That was my first dive into fandom. Um, and, um, what formed my imagination very, very early on, uh, I mean, when I was starting to learn how to read. Um, so it was mostly Dyscomics for me because it had the most Spanish translations when I was little. I live in Argentina, so it was mostly that and on TV, also Super Friends and Thundercats Turtles, uh, all that kind of stuff. And as I grew a little older, it will be vertical stuff. Sandman. Uh, the patrol. And that combined with my interest for mythology, um, mysticism, uh, religions, all kinds of religion, spirituality, uh, which for me, when I was a, uh, teenager, uh, it was kind of something in between, um, superheroes and reality. The closest thing we could get to having powers was imagining them through spirituality, I guess. So that was part of the funding, too. I guess it connects a lot. Um, I will say, like shortsperis Wonder Woman and Newton Titans, uh, was like the most poignant, uh, comic war through my early years. I don't know, there's much more all the time. I know Batman Animated was a bit strong and a lot of anime also, like Nights of Sodiac and Silver Moon. So that mix of, uh, growing in Latin America, you see everything from afar. You get the media from the United States and from Japan, and you make your own mix of all the different influences. So I guess that kind of uh, shapes my yearly worldview.
Guido: Yeah, I can see your art being a good mix of anime. Plus like, Jose Luis Garcia Lopez, the Bronze Age. DC. He's argentinian too.
Luciano Vecchio: Nope, he was born, but he's based in the US. I, uh, think he didn't grow up here.
Rob: Well, mhm, even you had done the amazing commission of Promethea for us in New York. Comic con a myth. And I know ghetto. You were really into myths growing up and still are. I was really into myths, definitely. I think if you were a comic fan or fan of these other worlds, it was like the way, it was like the sanctioned way through school that you could be into superheroes was by learning about all these myths or as you said, spirituality as well.
Luciano Vecchio: Yes.
Guido: So Luciano, how did you go from being a fan to then being a creator, being an artist? What's that journey?
Luciano Vecchio: Um, it was always part of my playground. When I was a little kid, I would draw and then when I started to reading and writing, I will start making my own improvised comic. I think everyone does that at some point, M. I, um, don't know. I remember as a teenager doing the exercise of actually writing a script and then drawing it. I was lucky enough to uh, start my professional path really early. As soon as I finished high school, I got my first assignments, um, and collaborations with indie publishers and stuff. So it was very organic and it was always there. Um, for me, it went from a thing of playing, um, to a profession very smoothly. So it still feels like playing most of the time. I think it's great.
Guido: That's lucky.
Rob: And how do you approach your art to build different worlds? Because you're doing all these different you're working with both the big houses, you're really a big world builder. So how do you approach that through your art?
Luciano Vecchio: Um, I think that depends a lot on each assignment. I am a huge neural archivist, so when I'm given a certain character to work with, I like doing my homework and researching everything that came before and uh, trying to uh, get the big picture of what the character is about again as a myth. I'm also um, grandmotherion is a big influence on my way of thinking about superheroes. So that exercise of, ah, interpreting character, uh, as a mother myth and um, uh, trying to see what their arc is about and what their iconography is about, um, and then I try to absorb that and express, uh, my version, my twist, my personal take on, um, what I think, ah, that character or that constitutes. When I do my own work, it's much more free, I guess. Uh, it's more like dreaming, uh, consciously like imagining and uh, putting ideas on paper and try to see, uh, how it makes sense.
Rob: Maybe it's hard to choose, but do you have a preference working with a preexisting character where you have these limitations, but also that structure to work with? Or having your own original character where you can do whatever you want, but there's almost maybe too many choices sometimes, right?
Luciano Vecchio: I like both, but, uh, I actually find more potential in the first option. I like having, uh, an assignment, something, um, to work with. Um, I find myself being more creative around reworking something that already exists. I'm also creative with my own stuff, but, um, I don't always feel the need to do personal stuff if I don't have something really personal and intimate that I want to express through my work. I would rather work on, m existing characters and collaborative, uh, projects.
Guido: That's so cool. And you also are a writer, which not too many people in the industry are. Writers, artists. So were you always writing and doing art, or did the writing follow the art, or how did you start writing stories?
Luciano Vecchio: It was always there, but not as much. M I see myself as an artist first. Um, the writer aspect was always there, smaller scale. Uh, but I think I'm also a very involved collaborator when I get a chance. When I am working with a, uh, writer who, um, I have a great chemistry with, uh, I tend to participate in plotting or expressing my opinion, m, providing something from my own perspective through the art that affects the writing. I learn a lot from the writers I work with. Um, when I get a chance, the rare chance to write, uh, my own, I make use of that, but yeah, um, I was going to say that focus more on my creator and work a few years ago, working on my free time to create something else, something personal, um, which is sereno. It made me redefine myself as an artist, as an author, um, uh, the way I see myself as part of this industry. Um, but it wasn't my plan to write for Marvel, for example, but it happened. I took a chance with the first Marvel Voices anthology. I pitched a story and they liked it. And then they asked me a few more. Uh, even if it's not anything super large or important, they are very special stories. Uh, I don't write much, but when I write, I intend it to be super special, at least for me.
Guido: Mhm mhm, while the Iceman Infinity comics are awesome, I just hope that they see print one day.
Luciano Vecchio: Me too.
Guido: Did you know it was going to be an Infinity comic when you were writing it?
Luciano Vecchio: Yes, it was.
Guido: Does writing for that medium make it different?
Luciano Vecchio: Uh, yes, because in a way, uh, I took a risk and a different approach than most other writers do with this format. Um, I didn't want to do, like, one story and split it on many episodes. Instead I wanted to compress a lot of story in a very little space. So each episode works as a self contained story. Um, I knew that the space was limited and I knew that we never know when it will be the next chance we get to see a uh nightmare story. So I wanted to give my all and not I didn't want to save the good stuff for any machinery later that might never come. Uh, I work with that limitation and thinking of it as uh a prompt the limitation can make. Uh, you uh, be creative to work your way around.
Rob: Uh, that feels like a common trend in your professional work is embracing those limitations. Whether it's working with a preexisting character where there's some places that you can't go, or being a collaborator where you're responsible for one part of the work but maybe not the other. Or in this case the infinity comic structure. Sounds like you really embrace those limitations and they actually strengthen your creativity.
Luciano Vecchio: Thank you. Yes uh, uh, I guess I have to for example right now I'm working my way through speaking my second language. It's not my first uh and um making my career living from very far away and it's all uh kind of little aspect of the freelance work being um nonnative English speaker and um not living in the place you're working for. We have a lot of limitations to work around and I find a lot of potential uh, in that exercise.
Rob: Mhm and you mentioned Sereno who as Gito said is about to come out or is out now. Super exciting. This is a project you've been working on a really long time. And can you just tell us a little bit more about how did this original character and world come about? How did you go about creating this?
Luciano Vecchio: Yes, um, I started it as a uh one page weekly and it was part of uh collective here in Argentina. Uh, the collective was called Tottenham Comics and it was like different local looters doing their own superhero comic with a very personal stamp. Uh, so with that in mind again, I went to grandmorison super goals as a grimwer of sorts to see what my M god archetype superhero will be and how to invoke it. Uh, so that was sort of the mindset I was starting from. Um, so I was working with very basic um, teams like Light and Shadows mostly. And um Vision which is a city of course. Um uh so the main character is uh like a magic um, boy type superhero with powers of light and spirituality. Uh um yes light can uh poetically mean a lot of things uh, and shadows and the dynamic at work there. Um also the theme is perspective ambition. So there is like a specific power set. The magic task it does with Light and Shadows. But the point of view changes from episode to episode. So what light means is not crystallizing. One idea, uh, that is right or wrong. It's a little dynamic, so there's that. And I also wanted a quick character, of course, which, uh, now abounds more. But when I started this will come again in 2014, there weren't many, uh, much, um, less as a lead character. That's what I needed to do the most. And what else? Uh, yeah, I think that answers.
Guido: Are the three print issues coming out from Cex? Are those all the web comics put together, or are you adding new material to build it out?
Luciano Vecchio: Uh, this is the original web comic collected. I did a bunch of new covers for each issue.
Guido: I love the Superman homage cover for issue one.
Luciano Vecchio: Thank you. Yeah, it's part of, uh, coming for political, uh, invoking the first archetype and, um, my mind.
Guido: Yeah. And I also love the world because the way the world around Serrano is also so interesting. You have all these characters and this notion, this idea of being your best self. And the characters in this world can be different. Selves it seems so. Could there be more Serrano in the future? Because I want to see everything about this world.
Luciano Vecchio: I think they're cool. That depends on how this goes, this experience. Uh, um, for me, this English edition is also reconnecting with the world, which I finished a while ago and, uh, released at some point. Mostly because I was focusing on, um, doing Iron Heart and more mainstream work. And I just couldn't keep doing the work comic also. And I thought it was okay, I was focusing on something else creatively. So if I went back to writing it now, it will be from a different perspective. My vision on spirituality has changed with time. Um, uh, I'm curious about what the outcome would be if I resume this series. Or maybe I will just expand the universe of other characters, mhm, that sort of thing.
Guido: I think there is a lot of potential there, so fingers crossed.
Luciano Vecchio: All right.
Guido: Um, and so thinking about Sereno, but also your Ice Man stories and also the stuff you wrote as a teenager, and also your art. What is something you hope people get out of any of your work? What do you want people to get out of it?
Luciano Vecchio: Recently, uh, i, uh, remember, um, when I was watching the Sandman TV show, uh, last year, I remember the feeling I got when I was at initial reading Sandman in comics. Uh, and I remember being moved by the story and, um, feeling, this is what I want to do with my work. I want to move people. And I guess that's the best feedback I get. When people tell me, I tried with this thing or this was really touching or inspiring or whatever, that's, uh, what I find more most rewarding, or, uh, why I feel most connected with the audience.
Guido: That's amazing. And would you say Grant morrison is one of your favorite influences?
Luciano Vecchio: Yes, absolutely.
Guido: What is your favorite Grant Morrison work?
Luciano Vecchio: Uh, I would say invisibles. Um, Justice League. Yeah.
Guido: Invisibles. I agree.
Luciano Vecchio: Also because I love the Invisibles. It affected me when the time was right, when I was, like, turning a face and, uh, questioning everything and yeah, that was a, uh, great, uh, input to get.
Guido: I just want to say the invisibles to me, The Invisibles and Promethea are perfect companions because they both are dealing with spirituality and magic and the end of the world. And I love all of those themes.
Luciano Vecchio: Yeah, they have a lot of ah. Also recently, I was speaking to a friend describing the three writers, uh, like a sort of triple gold of comics, instead parallel gold. If comics are greener or gateway to match it, those three are like teachers. Of those three, I find the most connection with Morrison's work because it's full of foy. Uh, m. I feel like Moore's work is very inspiring, but also very, uh, somber at times. Uh, but yeah, we learn from all of them. Yeah.
Rob: I just think the idea of tapping into that spirituality that you mentioned and the idea that you said you wanted to have people moved or move people with your art, to me, uh, I feel like that is probably less common in comics, where I feel like to entertain, to excite to those kind of feelings I see. But, uh, it's interesting. I feel like the being moved. I think I see more of it in comics now, but I think it's still something that you don't see too much, at least in more mainstream superhero comics, is that idea of moving your.
Guido: Audience in that way and the emotions.
Rob: Uh, and the emotion tapping into that emotion.
Luciano Vecchio: Yeah, I guess, um, it's all part of the I mean, if I could zoom out of my previous answer and say, I am interested in to exploring different narratives, what's been, uh, the canon and the only thing that the mainstream gave us for Ashes, which was much more Patrick narratives and based on strength and stiffness. Um, so making superhero stories that focus on sensitivity, that's what I learned from Wonder Woman, like compassion first. And I like expanding on that teaching, spreading that kind of war and that kind of, uh, approach into telling stories. And, um, if you asked me this question a few years ago, I will have had a, uh, more potentious answer, maybe like wanting to actually make a big change in the world and an impact through stories. Because I think stories affect how our imagination and how we see the world and how the world exists because of that. Um, but I'm a little more confused now than I was before, which is weird, but it's human. Yes, exactly.
Guido: Uh, I think as we get older, which is why The Invisibles or Prometheus resonate so much, because they're about contradiction and complication and as we get older, we start to understand all of that much better.
Luciano Vecchio: Yes, absolutely. And, um, through experience, um, that was my idea when I had done less work. And it was all, uh, a, uh, perfection of the future. Now I come from the future to my younger self. It gets complicated.
Rob: And that emotional impact. I feel like you and I will be watching almost any TV show now, and we might start crying at the end of it, like, you're just tapped into that emotion so much more as you get older. When it's younger, it's just like, entertain me. Or as you said, Luciano, it's also like, oh, I want this to be groundbreaking, but as you get older, it's more like, I just want to get a simple story that's going to affect me somehow resonate with me.
Luciano Vecchio: Yeah.
Guido: And so the other thing I think that is groundbreaking in your work is how you tell really important stories of queer characters, Latinx characters. And a few years ago, I don't think you're still doing it, but you were involved with Sequencia Disadnte. Can you tell us about that and that project to uplift queer Latin stories?
Luciano Vecchio: Uh, yes, I can tell you the story of what it was like. Um, there was a point around 2016 17, i, um, was growing in visibility here in Argentina, locally, as an outer. And I was like, I guess, the first that was visible because of working for Marvel and decisions and staff, and, um, being out as a gay person and talking about queer subjects and feminism in regards of, uh, the field of comics. Uh, so it put me in the spotlight for a bit. Um, and I used to have the wrong notion that I was like, the only one, the only queer comic creator around. And what started happening, because of many things that were happening at the time, culturally, socially, and collectively, we started to find each other, uh, the queer creators. Um, what happened was, at some point, uh, someone hosted the first LGBTQ m event of comics, and there was an anthology, and that stuff was happening. So what I made was, um, an open call for other creators to, uh, get together in a Facebook group at the time. And, um, realized there was a volume of work, of previous work in welcomings and in the comics stuff that not everyone was aware of. And we had this collective illusion that it was scarce, but we realized that it was actually a lot of work. So sequential, incident, was a way of reuniting all that previous work from the, I guess, uh, early 2000s, uh, to that date, and, um, have it all in one place. And it was more like a statement, like, uh, we are a lot this is a lot of work. We are here to tell our own stories and reclaim our subjects for ourselves and share it with everyone. Um, and it had the aspiration of being a platform for new creators and new stuff. But what happened is there was like such, uh, a big expansion of new, uh, creators, nuclear material, uh, appearing in welcoming scenes everywhere. The platform wasn't needed really. It was just like a turning point in time. Uh, um, it has its effect, like, uh, a statement. Now I see it more like an archive, uh, to not lose our history. Um, after that, a universe uh, created by itself. So it wasn't really needed anymore.
Rob: That's a good problem to have, though.
Luciano Vecchio: Yes.
Rob: There's just so much out there in the world which is amazing. And I think you were saying a Facebook group. And for all the bad things that social media has done, which there's many, I think I've certainly seen just in my community, comics community and in horror community as a big horror fan. And you just realize, wow, I thought I was the only queer person that was into this. And there's all these other people. So it is amazing that these platforms can be used for this good thing of bringing us together in that way.
Luciano Vecchio: Yeah.
Rob: And this, our podcast definitely focuses a lot on multiversal storytelling, alternate universes, things like that. Are you a fan of multiversal stories? Like what if or else worlds.
Luciano Vecchio: Uh, yes. Um, before that, as I told you at first, I grew up with pre crisis comics. So two or three all that what if that were kind of part of social universe. Yeah, I am okay.
Rob: And there seems like there we're always surprised by how much multiversal storytelling is happening right now. It seems like it's a very popular way to tell stories. Why do you think that is? Why do you think we're seeing so many multiversal stories right now?
Luciano Vecchio: Um, I think it's a sort of spirit of the times. Uh, like a site based, um, I guess it might have to do with what we were talking before about social uh, platforms and the way we are now. Always multitasking. And um, uh, right now, talking through a technological portal where we see your faces from different corners of the world, I think we are living ah, variants and parallel versions, of course. Um, I travel a lot to the US at least once a year for Comic Con or whatever. And um, every time I go back and forth, I feel like I'm resuming a parallel life because I'm uh, the same person, but a different aspect depending on the context and um, how it influences me. M. Yeah. So I guess the culture is mirroring something that is happening to everyone at a personal level. Um, and also there is this accumulation of uh, culture that we never had before. Um, so we are watching everything all the time at the same time. Uh, and um, it consists, it influences each other. Uh, even uh, audience influences, uh, collective work. And uh, the other way. Around. So, yeah, I guess multiverses, uh, reflect on that and make us it's one of the things we are collectively thinking about, I guess.
Rob: Mhm.
Guido: I love that connection to identity because I never thought about the way on an individual level, especially people with marginalized identity, but anyone with multiple identities, you are switching in and out of different identities. And I never thought of that as variance and as parallel universe. And, uh, that's an, uh, incredible connection. I could see why that's happening. Because social media, what social media has done has also allowed people to express different identities to connect based on those identities. And so we have really brought forward different facets of ourselves. And I love that idea.
Luciano Vecchio: And they are very fully flipped. Like, I know some people that are now, uh, living Twitter, uh, because of what Twitter has become, are actually experiencing the loss of, uh, construct of their self. And it happens with every different social platform where we express an aspect of ourselves in a very specific way. Uh, I'm a little exhausted of all these. Also, I want to remurge into one being.
Guido: I think the human condition has always been to try to integrate every part of yourself. And I think that's become much harder in the world because the world has become so segmented.
Luciano Vecchio: Yes, absolutely.
Guido: Well, through your stories and through the power of stories, I think many of us start to feel a little more integrated. I really do think that is what makes stories so powerful.
Luciano Vecchio: Well, that's a nice.
Guido: So before we wrap up and give you back the rest of your weekend, um, since we are an alternate universe podcast, we ask our guests if they have like a what if that they would love to see, or an amalgam that they would love to see. Is there anything you would love to see out there that you dream about?
Luciano Vecchio: I guess amalgam. Sarah very fun exercise. I did a bunch during Quarantine in 2020. Uh, I don't know if it sold us, of course. Uh, um, I like also structure to the exercise and the game. So that bunch of amalgam where, uh, I chose only to mix MCU and Snyder versus characters and that limitation, again, gave some very specific, uh, combinations that only makes sense ah, with that prime materials. What do I have? Like a, uh, superman and tour.
Rob: Mashup.
Luciano Vecchio: Uh uh, um wonder Woman? Captain America. Super fun. Uh, it takes you back to the way a way of thinking that is very connected with your childhood, I guess. Uh, anything can happen. It doesn't have to make sense. It has to be fun. Uh, yeah, I love that.
Rob: I love that.
Luciano Vecchio: Yeah.
Guido: Uh, we love that too. So I hope you do more. I hope you keep doing it.
Rob: All right, and thank you so much, Luciano, for being here today. This was a great conversation. Thank you again so much.
Guido: Thank you for your work.
Rob: Exactly. Thank you. Yeah. And before we wrap up, can you just tell people where they can find more doubt you where they can find your work?
Luciano Vecchio: Yeah, mostly, um, Luciana Rekkio art on, uh, Instagram, and, um, Lucianovicio on Twitter is where I am, um, the most. Um, I post the same stuff everywhere. Uh, I'm doing a bunch of conventions during March. I'm going to Emerald City Comiccon, uh, Wondercon, and, um, uh, Chicago C two, E two. So there's that. I'll be in person in places soon.
Rob: And then you'll go back to Argentina and merge with your other self again.
Luciano Vecchio: Yes.
Guido: Well, thank you for your time. I hope that you find your way back to New York Comic Con one day, or that we find ourselves at another con with you and we can think of a new Amalgam to ask you to do right.
Luciano Vecchio: I look at those challenges.
Guido: And that is a wrap on our incredible conversation with Luciano Aveccio. Dear Watchers. Thank you for listening. I have been Gito and I have been Rob. And, uh, you can follow Luciano's work and links to his profiles in the show notes. You can follow us on all social media at Dear Watchers.
Rob: And please leave a review wherever you listen to podcasts. We'll be back soon with another trip through the multiverse.
Guido: In the meantime, in the words of Huacu, keep pondering the possibilities.