On this episode of Word Balloon Fred Van Lente discusses the IDW release of The Comic Book History Of Comics, written by Fred and drawn by Ryan Dunleavy . The talk leads to the debate about fine artist Roy Lichenstien' s pop art paintings that were based on real comic book panels. Were these painting fine art celebrating design , like Andy Warhol's Campbell's Soup Can paintings, or outright plagiarizing comic artists like Mike Sekowsky and Russ Heath? Van Lente is also part of the Valiant Comics revival writing Archer and Armstrong coming out in August. We also talk about Fred's upcoming Hulk work, on the HULK Season One OGN with Tom Fowler , to this month's HULK SMASH #5 with Mike Oeming. 

Then the team behind Vertigo's new war OGN Shooters writers Eric Trautmann Brandon Jerwa and artist Steve Lieber join us to talk about the complicated life of a corporate contract soldier working for the US in current forgien conflicts. It's a very personal story for Trautmann, who based the story on his brother-in-law Dave. he trio talk about the book, and discuss their other recent projects including Jerwa's comic book film documentary, he and Trautmann's Dynamite books like Flash Gordon and Vamperella, and Lieber talks about the piracy experience he and Jeff Parker had with their Oni press mini series Underground. 

On this episode of Word Balloon, Rob Liefeld returns to talk about 3 DC titles he's taking over in May, with the challenge of resurecting interest and sales. They are The Savage Hawkman with art chorse by  Joe Benitez, Deathstroke, and Grifter with scripting help from Frank Tieri.

Liefeld talks about what his plans are for all three titles, including Deathstroke's hunt for the space criminal Lobo, which will introduce the character in the new 52 DC continutiy. Liefeld promises that this Lobo will not be the cartoony parody charcter he was in previous stories.

We also talk about the critical aclaim his charcaters are getting in his revamped Extreme line of book.s like Prophet, Supreme, and Glory. Also, Rob gives his views on writing decompressed stories in today's comic book market