Judging a Book By It's Cover (ft. Tim Jacobus & Jallomoth)

[00:00:01] The most thrilling, spitingly series ever!

[00:00:05] From the pages of R.L. Stine's best-selling books,

[00:00:08] and the screens go on forever and ever.

[00:00:13] We now return to Goosebumps.

[00:01:05] Greetings Goosebumps fans, young and old, big and small, living dead and undead.

[00:01:09] Welcome back to the Goosebumps Crew Podcast.

[00:01:11] As always, I am your host, Isaiah Vargas, and I'm joined by my good buddies Bjorn Pelnik and Nick Shaw.

[00:01:17] We are the Goosebumps Crew, and we're back to, as always, talk some Goosebumps.

[00:01:21] If it's your first time joining us here on the Goosebumps Crew Podcast, I want to sincerely welcome you all.

[00:01:25] If you are or have ever been a fan of the popular Goosebumps series of books or the monster franchise that those books spawned,

[00:01:31] I have a feeling that this podcast is going to be right up your alley.

[00:01:34] As I always say, me, Bjorn, and Nick are some of the biggest Goosebumps nerds on the entire planet.

[00:01:38] We can talk about Goosebumps for hours on end.

[00:01:40] That's exactly what we do here on this podcast.

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[00:02:51] Now, before we get into this, I want to give.

[00:02:53] Hold on.

[00:02:54] So is anybody else?

[00:02:55] Okay, real quick.

[00:02:56] Has anybody else ever watched Ace Ventura?

[00:03:00] I don't feel like everybody has to.

[00:03:03] Does anybody else think?

[00:03:05] I don't know why this is popped in my head after you finished your intro and you've done it so many times, but like, I just, I don't know.

[00:03:11] So I started laughing.

[00:03:12] I always think now I see Ace Ventura.

[00:03:14] He's just going to go.

[00:03:17] And he just starts rolling into it really fast.

[00:03:20] Like, yeah, and he just doesn't breathe.

[00:03:23] Like, yeah, no, I don't know why that was so funny.

[00:03:25] But yeah, that's the thing.

[00:03:26] I've done this intro so many times that at this point, it's just like clockwork.

[00:03:29] So I just run it off and try to.

[00:03:32] So it's almost like a game.

[00:03:33] You try to like run it through and see how fast you can get it every single time.

[00:03:36] Like at some point I'll get it.

[00:03:38] I'm going to need you to learn the Ray Finkel speech that he does.

[00:03:42] And we need to do that in the intro.

[00:03:45] Yes.

[00:03:46] Let me see.

[00:03:46] Cause I feel you could do it.

[00:03:47] I feel you could do it.

[00:03:48] I believe so.

[00:03:49] If I have enough tries at it.

[00:03:51] Now, before we get to this week's topic, I want to introduce our two very special guests.

[00:03:55] First off, I want to welcome back our good, good, good friend, Mr. Tim Jacobus,

[00:04:00] the awesome artist behind the original Goosebumps series of books.

[00:04:03] Tim, always a pleasure.

[00:04:04] How are you doing tonight?

[00:04:05] All good.

[00:04:06] Thanks for having me.

[00:04:07] Much appreciated.

[00:04:08] Of course, you're always welcomed.

[00:04:10] And also joining us tonight, he is an artist and YouTuber.

[00:04:13] We're very excited to welcome Jowamoth to the Goosebumps crew.

[00:04:17] Jow, how are you doing tonight?

[00:04:19] I'm doing great.

[00:04:19] I'm a lifelong Goosebumps fan and I'm very excited to be here.

[00:04:24] Absolutely.

[00:04:24] And we've invited Jowamoth because he did an awesome two part video series ranking all 62

[00:04:31] original Goosebumps covers, not just the art, the covers.

[00:04:34] So like every single aspect.

[00:04:36] It's a great video.

[00:04:38] Go watch it.

[00:04:38] We'll leave a link in the description below.

[00:04:40] So go check it out and sub to his channel, too, because he's awesome and he deserves support.

[00:05:13] But we're very glad to have you both Jow and Tim.

[00:05:14] We'll see you in the late 2000s, 2010s, even the early 2020s with Horrorland and the reprints.

[00:05:20] Slappy World Most Wanted and very recently, Robert Ball, who's taken over for the House of Shivers series.

[00:05:26] And that's not even mentioning all the different graphic novel artists, the people who do the covers for those promotional art like so many artists, so many artists.

[00:05:36] We could talk about it for hours.

[00:05:37] But today we're talking specifically about cover art because cover art is the hook that gets you into these Goosebumps books.

[00:05:43] And you could probably ask any Goosebumps fan that the art is the thing that hooks them in to wanting to read the story.

[00:05:50] This is something that you've told us before, Tim, is that you were sort of like the hook and R.L.

[00:05:55] Stine real dealing with the story. So it was like a good one to punch of that.

[00:06:00] So today we're going to do our fair dues to the cover art of Goosebumps, and we are going to rank each of our top ten favorite Goosebumps cover arts.

[00:06:09] Now, of course, we want to give praise to any and all art in the Goosebumps series.

[00:06:14] So we have chosen from every artist who's done a cover art.

[00:06:18] It has to have been on a published book, though, but any Goosebumps book, any cover art.

[00:06:23] It is fair game. We don't know any of our picks.

[00:06:27] So I didn't know that coming into tonight.

[00:06:28] So I completely had to take one of mine out prior to us recording tonight.

[00:06:34] When you said that, I was like, shit.

[00:06:36] So I had to take out the Haunted Mask Libs because that was one of mine.

[00:06:41] Yes.

[00:06:42] Well, and as we talked about before we started recording, if we were going to put that in, I would have definitely put Happy Holidays from Deadhouse on mine because that is a really good one.

[00:06:51] But to be fair, we have to keep it to published books only.

[00:06:54] So Goosebumps Gold gets an honorary honorable mention.

[00:06:58] So but I'm very excited to know where you guys all land on your picks.

[00:07:03] We don't know any of our picks.

[00:07:04] We're all going in blind.

[00:07:05] So this is going to be a really, really fun one.

[00:07:09] Now, of course, I'll get things started off.

[00:07:11] So we're going to start off with our number ten picks.

[00:07:13] And for mine, this one is a little more biased because this was one of the first Goosebumps books I ever saw.

[00:07:19] And it was just so weird and interesting that I couldn't take my eyes off it.

[00:07:24] And that's going to go to Give Yourself Goosebumps number six.

[00:07:28] Beware of the Purple Peanut Butter.

[00:07:29] This was by Mark Nagata, and it is my favorite cover art that he's done for Give Yourself Goosebumps.

[00:07:35] I mean, just look at it.

[00:07:36] It's a kid in a giant sandwich, two pieces of bread with all that goopy purple peanut butter on it.

[00:07:44] And I'll tell you right now, most of my picks involve goop in some way.

[00:07:48] There's just something about slimy, goopy sludge smearing all over the place.

[00:07:53] That is just I don't know.

[00:07:55] It makes for a really good art.

[00:07:56] That was the essence of Goosebumps in the 90s, though.

[00:07:58] Everything was slime and splat.

[00:08:02] Exactly.

[00:08:03] Everything was gross in some sort of way.

[00:08:06] So but yeah, that's my number ten.

[00:08:09] Like I said, one of the first Goosebumps books.

[00:08:10] What a book to like see first.

[00:08:13] It's just like it wasn't even a mainline series book, but this was always just one that stuck in my head.

[00:08:18] It was just like, I got to see what series of events transpires to get to that point.

[00:08:24] So I love this one.

[00:08:26] It makes me laugh.

[00:08:27] And it is my number ten pick.

[00:08:30] Yeah, the same.

[00:08:33] It's like he was eating.

[00:08:37] I ironically enough had a peanut butter and jelly for dinner tonight.

[00:08:40] So now you know that I'm aware of, though.

[00:08:47] Yeah, hopefully it wasn't purple.

[00:08:49] I wouldn't eat anything that was purple slime.

[00:08:51] I mean, my jelly was.

[00:08:54] Nah, I guess that's true.

[00:08:56] Bjorn, what do you got?

[00:08:59] Um, so my ten, I kind of picked them based on like, I mean, obviously, I had to go back and look at them all again because, you know, there's so many, you know, but I tried to go based on the ones that I used to just stare at a lot and I just couldn't take my eyes off.

[00:09:12] Uh, my number time, well, my, my least favorite of my favorites, I guess is a way to put it is, uh, night in terror tower.

[00:09:21] There's just something about the endless corridor and then the executioner because I mean, let's face it.

[00:09:27] That is the definitive look of the executioner that we all know and love.

[00:09:31] Um, we've talked about this so many times how we wish in the TV show, the executioner did just look like that apart from that one scene.

[00:09:38] Uh, but yeah, I just, I love the colors in this one.

[00:09:41] So yeah, Tim, obviously starting with you.

[00:09:44] Um, but yeah, there's just something about this cover art.

[00:09:47] Um, and I even think back to like the night in terror tower behind the scenes where like Corey Sevier like holds up the, like the book, you know, there's just something about it.

[00:09:55] It's very iconic to me and aesthetically very pleasing.

[00:09:58] Uh, I used to stare at this book a lot as a kid and, um, I actually had someone recently do a sculpture.

[00:10:03] I might go grab it later.

[00:10:05] And it was a book that had a bunch of the different goosebump monsters coming out and that included the execution.

[00:10:11] Awesome.

[00:10:12] You might remember that.

[00:10:13] Um, that's a cool piece.

[00:10:14] That's a cool piece that you got.

[00:10:16] Yeah.

[00:10:17] Cool.

[00:10:18] Um, so RJ Murtagh on Instagram, check them out if you want a goosebump sculpture.

[00:10:22] Um, but yeah, I just, I love the cover art for night in terror tower to me.

[00:10:26] It's just so iconic.

[00:10:27] I love the covers and, uh, yeah, it's, it's beautiful.

[00:10:30] That's my number 10 pick.

[00:10:32] Awesome.

[00:10:33] Tim, we're going to go to you next for your number.

[00:10:36] Yeah.

[00:10:36] We talked a little briefly before the show started up.

[00:10:39] I'm, I'm here tonight as a, as the advocate for, for Brandon Dorman.

[00:10:46] Uh, I think his work is incredible.

[00:10:50] Uh, he had the, you know, uh, he, like you said, he, he's done quite a number of different

[00:10:56] covers.

[00:10:57] Um, I hear often, and it's very humbling.

[00:11:08] Um, I hear, uh, he, he's done quite a lot of different things.

[00:11:26] Um, I hear, uh, I hear, uh, I hear, uh, I hear, uh, I hear, uh, I hear, uh, I hear, uh,

[00:11:29] do a ton of his stuff.

[00:11:30] And I think that the most interesting art that he's done over the years is the stuff

[00:11:35] he didn't do for goosebumps.

[00:11:37] Although the stuff he's done an incredible number of very cool things for goosebumps,

[00:11:42] uh, the art that you, you'd probably be less familiar with will be, uh, more impressive

[00:11:50] to you if you're, if you're not a fan.

[00:11:53] So, uh, for my number 10, I'm going to start out with, uh, one that he did, which was a redo,

[00:12:01] uh, well, of a character that, that I liked a lot that I did for the 2000 series.

[00:12:08] And that's a creature teacher, the final exam.

[00:12:12] And I, the, I, I liked the way he put the spotlight on the teacher.

[00:12:18] Uh, I don't have the example in front of me.

[00:12:20] Um, but the, the blackboard instead of being green is yellow and then he's used the rim

[00:12:29] light around it.

[00:12:29] So it's a very dramatic lighting on the teacher.

[00:12:32] And he, uh, he followed through with those weird bug eyes that are, uh, that are hanging

[00:12:38] out.

[00:12:39] So, uh, I, I dig that one.

[00:12:41] Essentially it was more exaggerated in some ways too.

[00:12:44] I remember when that book was first teased and I was just like, it was, it was crazy because

[00:12:50] it's so familiar yet.

[00:12:52] He, he added his own spin to it.

[00:12:54] Um, even the eyes are a lot more monstrous and yellow.

[00:12:58] Um, there's a lot more like drool just dripping from the mouth.

[00:13:01] So it's almost like he, he paid his homage and then also like added his own.

[00:13:06] Dialed it up, dialed it up.

[00:13:08] Yep.

[00:13:08] It's a great, a great one.

[00:13:10] Uh, great number 10 pick.

[00:13:11] Absolutely.

[00:13:12] Uh, I was seeing that when it first came out and thinking like, wow, that's so cool.

[00:13:16] Like it definitely does pay homage to the, the original, you know, but it shows that they

[00:13:21] have, uh, respect for what came before, but they can add what they, what they like.

[00:13:28] Absolutely.

[00:13:29] What adds to the next level.

[00:13:31] Yep.

[00:13:32] All right, JL, we're going to throw it to you next.

[00:13:34] What is your number 10 pick?

[00:13:36] So, uh, to preface, I guess just a little bit in my video where I was ranking all 62

[00:13:41] of the original covers.

[00:13:42] Uh, like you said, I was trying to be as objective as I possibly could.

[00:13:46] I mean, art is the most subjective thing there is, but I was trying to just give it this area

[00:13:51] of subjectivity by, you know, like scoring them.

[00:13:53] You know, I gave a different scores for how well I think the title and the tagline and

[00:13:58] the color scheme like enhanced, uh, Tim's artwork.

[00:14:02] And, uh, for this, for this, I really wanted to go more just like personal and like instinctive

[00:14:09] and just kind of go with whatever spoke to me instead of trying to focus on anything else.

[00:14:14] Cause there's some stuff, you know, that I probably would have changed about my video.

[00:14:17] It was totally just me, you know, from my heart.

[00:14:20] Uh, but my number 10 is, uh, goosebumps most wanted volume for Frankenstein's dog, uh, by

[00:14:28] Brandon Dorman.

[00:14:28] I think that, uh, crazy looking animals are a very, very important thing in goosebumps is

[00:14:37] history, you know?

[00:14:38] And that's, you know, obviously because of RL Stein's ideas and Tim's work, you know?

[00:14:42] And I really think that, uh, Frankenstein's dog is like the end point.

[00:14:46] It's like the logical conclusion of it's, it is, it is like the perfect, it is the most mangy

[00:14:52] insane looking thing.

[00:14:53] Like the scarring, the eyes, the snaggle teeth, the eyeball for the collar, everything about

[00:15:02] that piece is just absolutely flawless to me.

[00:15:05] Um, and it, it is just so catchy.

[00:15:07] It is one of like the only, uh, covers from that era that I like very vividly just remember.

[00:15:15] It's, it's always been in my head.

[00:15:16] And so, yeah, that's, that's going to be my first pick.

[00:15:20] I agree, but definitely.

[00:15:22] And that most wanted era, like, I think it might be because it was sort of like a spotlight

[00:15:27] sort of thing.

[00:15:28] Um, for those kinds of covers, it was basically the monster almost in like a police lineup.

[00:15:33] Um, but it put more focus on the actual monster itself.

[00:15:37] So Brandon really like hammed it up on the designs, uh, for like the gnomes and playing

[00:15:43] on the lawn gnomes or, uh, or the monster, how I met your monster, uh, even slappy a little

[00:15:49] bit.

[00:15:50] Like when you got to, uh, slappy world, um, he, he went over more of the movie design.

[00:15:56] Uh, but those covers just got really, really crazy.

[00:16:00] Um, yes.

[00:16:01] Dreamland.

[00:16:02] Right.

[00:16:03] One, two.

[00:16:03] That was a great one.

[00:16:06] That was great.

[00:16:07] What do you got for number 10?

[00:16:10] Ironically enough.

[00:16:16] I have always loved this cover.

[00:16:19] Uh, it's probably my favorite.

[00:16:21] He's done.

[00:16:22] Um, it just, when I saw it on the shelf, like I've never even read the book.

[00:16:27] I bought it for the cover.

[00:16:28] I'll be straight honest.

[00:16:29] Um, like I love that art.

[00:16:32] Like, uh, it's something so creepy, just about one dummies are creepy enough.

[00:16:36] We've talked about that before in the past.

[00:16:38] And you always, as a kid feared something under your bed, but imagine if it's a dummy

[00:16:42] under your bed, that's alive.

[00:16:44] I mean, that just, and the fact that we can see it on this cover is creepy as hell.

[00:16:49] So, uh, and they gave slappy red eyes, which I think works really great for this cover.

[00:16:55] Um, normally we see him with like brown eyes or in the show's adaptation, green eyes, but

[00:17:02] with red eyes, I don't know.

[00:17:03] It was kind of, it kind of irks you a little bit, especially when you see him just smiling

[00:17:08] and creeping out from underneath the bed.

[00:17:09] So I think he did really well with that.

[00:17:13] Um, just showing just enough of slappy's face out of the bed shadows that just creeps you

[00:17:19] out.

[00:17:20] I wonder what it would have looked like if it was, um, as I said, Brandon went for more

[00:17:24] of the movie slappy for slappy world, which is fine.

[00:17:27] But I actually, I don't know if it's a hot take or not.

[00:17:30] I actually prefer his slappy design before that, uh, like for horror land and stuff like

[00:17:35] that.

[00:17:36] Um, there was something about it.

[00:17:38] It looked a lot more like menacing.

[00:17:39] It looked a lot more like a puppet.

[00:17:43] Um, and I don't know.

[00:17:44] I, I, I always preferred that design that he did for slappy over the one that was more

[00:17:48] akin to the movie.

[00:17:49] Um, I wonder what it would have looked like if he kept that original design, but, um, I

[00:17:54] agree.

[00:17:55] That's a really, I wonder if that was like his decision or if scholastic said changed

[00:17:58] this because we now have a movie slappy.

[00:18:00] I kind of like draw people.

[00:18:02] I'm willing to bet probably scholastic had a hand in that, but you know, you never know

[00:18:05] maybe, maybe he, it was a creative choice.

[00:18:08] Um, and like I said, it's, it's not bad at all.

[00:18:10] Like not, not one iota.

[00:18:12] Um, it's just the personal preference, but yeah.

[00:18:16] Well, uh, so far, good start.

[00:18:19] Uh, only one Tim Jacobus art.

[00:18:21] Now I'm wondering.

[00:18:22] You go, right?

[00:18:23] There you go.

[00:18:24] That's only because we're in the lower ranks, bro.

[00:18:27] Okay.

[00:18:29] Well, we're not out of the lower ranks yet.

[00:18:31] And actually we're not out of the give yourself series yet.

[00:18:34] Um, my number nine is going to go to remember what I said about goopy stuff.

[00:18:39] That's why I really love.

[00:18:40] It came from the internet.

[00:18:42] Um, I don't know if you guys can see without the glare getting on, but number one, this

[00:18:46] octopus is dripping clear slime all over that computer.

[00:18:51] Um, but I also love this one cause it's great fan service.

[00:18:54] You have a, the stack of goosebumps books right here in the corner and the goosebumps

[00:18:59] poster.

[00:18:59] So it's almost like this creature is coming out into the real world of supposedly a goosebumps

[00:19:04] fan.

[00:19:05] Um, I know this is definitely one of Craig's favorites.

[00:19:07] This was Craig white who did this one.

[00:19:09] He was doing the series at the time.

[00:19:11] Um, this is definitely one of Craig white's favorites, uh, that he's done.

[00:19:15] And I have to totally agree with him on that.

[00:19:17] I just love the creature.

[00:19:19] There's something about it just pops like the way, like, I don't know what kind of blue

[00:19:23] color it is, but something about that shade of blue is just like mesmerizing.

[00:19:28] And, uh, I don't know.

[00:19:30] I, I just, I love it.

[00:19:32] I just love this, this art, this creature coming out of the computer.

[00:19:36] Uh, and again, just something about slime everywhere.

[00:19:39] Everything needs to be covered in, in gross slime.

[00:19:42] Um, so, uh, yeah, actually side note, um, as Tim talked about Brandon's are outside of

[00:19:48] goosebumps.

[00:19:49] Uh, if you look at Craig white's work, his drastically changed from the goosebumps era to

[00:19:54] now.

[00:19:55] Uh, he, like, I know we talked about a little bit with him when he was on the podcast,

[00:19:59] but like it, for those who haven't go look at Craig's work too.

[00:20:03] Like what he's doing now compared to what it used to be.

[00:20:06] Um, it's like a night and day difference.

[00:20:09] I mean, but I know styles change over time and things like that.

[00:20:13] Um, and you're still developing style.

[00:20:16] Well, you know, I feel like when you go through life, um, but I mean, it's a night and day difference.

[00:20:21] Um, I love both.

[00:20:23] Don't get me wrong.

[00:20:24] Just being involved with it and knowing a couple of different guys.

[00:20:27] And then there's people who later on in their career have a breakthrough.

[00:20:32] It's you wake up one day and shit's different.

[00:20:36] And all of a sudden it just clicks and you start doing something that's completely, uh,

[00:20:42] I went to, uh, school with a guy named Jeff Echevarria.

[00:20:47] He refers to himself as Jeff etch.

[00:20:51] Uh, when he was in art school, he was, you know, he was a middle of the Packer, a nice

[00:20:57] guy, uh, loves them.

[00:20:59] And then all of a sudden I start seeing this incredible artwork on the internet.

[00:21:04] I'm going, holy, you know, where this stuff come from.

[00:21:07] And it's him.

[00:21:09] Yeah.

[00:21:09] He showed none of that back in the days when we were in art school.

[00:21:13] And now it's, it's incredible stuff.

[00:21:17] Again, another name to track down on the internet.

[00:21:20] Definitely.

[00:21:21] Yeah.

[00:21:21] Check out.

[00:21:22] If there's anything you guys take away from today's episode, check out all the other goosebumps

[00:21:27] artists and other non goosebumps art too.

[00:21:30] Um, because they do incredible art outside of goosebumps.

[00:21:33] And actually one thing I want to bring up.

[00:21:35] Tim just did some magic, the gathering, uh, somewhat recently.

[00:21:39] I've been seeing a lot more of that pop up.

[00:21:41] And that, which is awesome.

[00:21:43] Rocks.

[00:21:43] And even still doing stuff with Stein, uh, for like stuff of nightmares, the graphic.

[00:21:47] Yeah.

[00:21:47] Um, totally fun.

[00:21:49] Yeah.

[00:21:50] Totally good stuff.

[00:21:51] Like check out all their non goosebumps work because their goosebumps stuff is awesome,

[00:21:55] but I guarantee you that you're going to find a lot of great stuff that is not goosebumps

[00:21:59] from these artists.

[00:22:00] So please check them out.

[00:22:01] And one more thing I want to say before we move on.

[00:22:03] Um, I actually believe and correct me if I'm wrong, that Craig white was the first

[00:22:08] artist, um, uh, you know, time wise to do digital art for the goosebumps series.

[00:22:13] Um, we talked a little bit about goosebumps goal before we start recording.

[00:22:16] And I know Tim, you said that when you got to that, uh, you had started doing the digital

[00:22:20] art.

[00:22:21] Um, but for these books coming out in 98, um, he was the first one to do digital artwork.

[00:22:27] Um, so he was almost a pioneer in that sort of sense for absolutely.

[00:22:32] Um, definitely something.

[00:22:33] He, uh, he had said, I believe if I remember correctly, that he believes why he got the job,

[00:22:39] uh, taken over, like he took over, uh, from Mark Nagata during that period because they

[00:22:43] wanted to change the art style.

[00:22:44] And he was one of the very few at the time doing digital when it wasn't brand new on the

[00:22:50] market.

[00:22:50] Like not a lot of artists were doing it yet.

[00:22:52] So I think he, if I remember, I think that's why he said he got, he thought he got the job.

[00:22:57] Yep.

[00:22:57] That's what he said.

[00:22:58] 98 was that was, he was the early adapter.

[00:23:01] Yep.

[00:23:02] Definitely.

[00:23:02] But it came from the internet.

[00:23:04] That's my number nine.

[00:23:05] Great cover.

[00:23:06] And it actually, I guess I'll spoil a little bit.

[00:23:08] It won't be the last cover of his to make it on my list.

[00:23:10] So you'll see him again soon.

[00:23:13] Bjorn, what do you got for number nine?

[00:23:16] Uh, my number nine is also, uh, Craig artwork.

[00:23:20] It's, uh, my favorite of his like that he's ever done.

[00:23:25] And I didn't take the book out because it's like up the top in my special collectors

[00:23:30] ones.

[00:23:31] Uh, but I have it here.

[00:23:32] It is all day night now to me.

[00:23:37] That is one of the creepiest goosebumps covers just of all time.

[00:23:42] It's so dynamic.

[00:23:44] Oh yeah.

[00:23:45] It's just, it's such a cool cover art.

[00:23:47] And I mean, I love wolves and you know, things like that.

[00:23:51] And you know, I, the colors in this, this cover art, it's just, I don't know.

[00:23:56] It really pops to me.

[00:23:57] I love how you've got kind of like the, the almost like the three, it looks almost like

[00:24:02] it could be 3d.

[00:24:03] The way that the wolf is like kind of jumping out at you.

[00:24:06] And I think that looks really cool on a goosebumps cover.

[00:24:08] Um, I just imagine what it would be, what it'd be like if that one had like the raised like

[00:24:13] front, it would just be so cool.

[00:24:15] Um, but yeah.

[00:24:16] And I have to give a shout out.

[00:24:17] So to my friend Logan, cause that's one of his favorite book cover arts.

[00:24:21] And, uh, we both agreed that yeah, this one just, I don't know, there's something about

[00:24:25] it and the book itself is great.

[00:24:26] So, uh, yeah, it has a great outside and inside.

[00:24:29] So, uh, yeah, you get the hook.

[00:24:30] Well, one, two punch as Isaiah said before.

[00:24:33] Uh, that's definitely one thing that just, yeah, it's an awesome cover up.

[00:24:38] I love it.

[00:24:38] So that's my number nine.

[00:24:40] Awesome.

[00:24:41] Very cool.

[00:24:42] Uh, Tim, what do you got?

[00:24:44] All right.

[00:24:44] So I'm all, I'm all Brandon all the time.

[00:24:47] So I'm going to put that right out.

[00:24:48] Uh, Brandon did a remake of attack of the Jack-o'-lanterns, uh, of the classic series.

[00:24:56] And, uh, the thing that stood out to me the most for those who aren't familiar with it,

[00:25:01] uh, where in my version of it, I had the kids walking down the street towards you with

[00:25:07] the Jack-o'-lanterns on their head.

[00:25:09] Uh, what Brandon did was use, uh, a, a fence and you only see the Jack-o'-lanterns on top

[00:25:16] of the fence.

[00:25:17] So it's a, it's a great, uh, compositional, uh, tool that he used.

[00:25:23] And then in the middle, one of the planks is kicked loose and you can see the kid busting

[00:25:28] through and that he is the Jack-o'-lantern is on his head and he's becoming the creature.

[00:25:34] Uh, the, also the use of color is, is very cool.

[00:25:38] The broad, you know, the bright orange and yellows of the Jack-o'-lanterns.

[00:25:42] And then using that lime green that, you know, we all associate with, uh, goosebumps and getting

[00:25:49] that great contrast so that those oranges really popped.

[00:25:53] So super nice piece.

[00:25:54] The addition of like the fire coming out, which I, I, I personally like to believe is a reference

[00:26:13] it is more, um, which is why I feel what Brandon definitely excel.

[00:26:18] That is, uh, especially when he came to doing the remakes of, uh, for the reprint covers, um,

[00:26:24] sort of bringing it into the, into the modern.

[00:26:27] Dialing it up.

[00:26:27] Yeah.

[00:26:28] Dialing it up.

[00:26:29] Um, yeah, I, I totally agree.

[00:26:31] And I'll be honest right now.

[00:26:33] Um, this was, I, I feel like I speak for all of us.

[00:26:37] This was difficult to narrow it down to just 10.

[00:26:40] Uh, and I will say that that on the attack of the Jack-o'-lanterns was on my, uh, initial

[00:26:46] list before I narrowed it down.

[00:26:48] So I totally agree on that one.

[00:26:50] That was a, a, a fantastic cover.

[00:26:52] Joe, what do you got for your number nine?

[00:26:56] So, uh, we were, we were just talking about how Brandon was really good at like dialing

[00:27:01] it up, making things a lot more inhuman and monstrous.

[00:27:04] But me personally, I really love the human elements of the original goosebumps covers,

[00:27:10] like humans becoming something else human, like that sort of that experimentation was

[00:27:15] like a big part of it for me.

[00:27:17] And so my number nine is, uh, the girl who cried monster.

[00:27:20] Uh, I, I think, uh, you know, as like a horror obsessed kid from like before the internet

[00:27:27] was like just in your pocket, you know, like the only places for like inspiration for like

[00:27:31] drawing for me were like, uh, horror TV shows like courage, the cowardly dog and stuff.

[00:27:36] And then there was like my school's library.

[00:27:37] And so your art like had like such a big, uh, impact on me.

[00:27:43] And like that, this one specifically was very striking to me as, as, uh, a kid, but now

[00:27:48] as an adult, when I just ranked these in my video, this one had, I, I had a, it was 10

[00:27:54] out of 10 artwork.

[00:27:55] I think that like the, I think purple and red are two colors that are very difficult

[00:28:02] to work with together.

[00:28:04] And you make it look like child's play.

[00:28:07] I also love that.

[00:28:08] Um, it also feels like a bit of an inversion of Jim Thieson's stay out of the basement.

[00:28:13] Like you have the monster, uh, opening the door to like the real world.

[00:28:18] Whereas this cover is like the girl opening the door to the monster, you know?

[00:28:25] And I, I really love that.

[00:28:26] I love how just how detailed everything is.

[00:28:28] Every single book in the background has texture.

[00:28:32] Like you can see the hair on his arm in the light, like everything about that.

[00:28:39] The cut, the composition is just brilliant.

[00:28:41] And I also love, uh, I think the girl, the girl in the, in the cover is one of the best drawn

[00:28:49] it's, it's, it's beautiful that that painting is so great and it blows my mind because it's,

[00:28:54] it's ridiculous.

[00:28:55] I have to imagine it's ridiculously small on the original painting.

[00:28:58] Like it is such a small part of the composition, but you make it look so easy.

[00:29:03] And I just, I've always had such an admiration for this one.

[00:29:06] So that's, that's my number nine.

[00:29:07] Mm-hmm.

[00:29:10] And, uh, Nick, what do you got for your number nine?

[00:29:14] Actually really quick.

[00:29:15] I am curious now on, on that original painting you did, Tim, what are you doing?

[00:29:18] Was that like, I know you had more of a blown up size.

[00:29:21] Like you had an accurate.

[00:29:22] Yeah.

[00:29:22] So I'm working 20 by 20.

[00:29:24] So yeah, that girl's face in there is still decent size.

[00:29:28] You know, it's three inches though.

[00:29:30] That's, I mean like two, three inches.

[00:29:31] Yeah.

[00:29:31] That's okay.

[00:29:32] You know, I, I, I can deal with three inches.

[00:29:35] You know, there's times where you back yourself into a corner and you're trying to make

[00:29:39] it look like somebody.

[00:29:40] And, uh, yeah, my whole, my whole life is talking about things that are only this.

[00:29:46] So, uh, but, um, yeah, no, that one, the other thing that was good about that is they, um,

[00:29:54] the book company was very accommodating when you said, Hey, you know, this is, here's the,

[00:30:01] here's my design.

[00:30:02] Uh, would you mind if I use the, the, you know, the photographer down the street and,

[00:30:08] and hire an actress.

[00:30:11] So I hired a kid actor to pose for that.

[00:30:15] So it's great because, you know, these are, these little kids were so talented, you know,

[00:30:19] they obviously were doing commercials and plays.

[00:30:22] So you bring them in and you go, Hey, you know, pretend you're scared and they could

[00:30:27] really work it up.

[00:30:28] And most times you had to go, Oh, whoa, whoa, whoa.

[00:30:31] Dial it back a little bit where, when you're trying to do that with somebody that you know

[00:30:37] from home, you know, you take the kid down the street or, you know, your own kid and say,

[00:30:42] Hey, do this.

[00:30:43] Usually it comes out a little stiff and you don't get that, that, that authentic looking expression.

[00:30:49] So it was always good to use the pros when I could didn't happen a lot with goosebumps

[00:30:54] all the other series.

[00:30:56] It was kind of almost mandatory, but, uh, goosebumps was, was wild enough where it was like, ah,

[00:31:02] I think I can get away with it this time.

[00:31:04] Well, it really paid off.

[00:31:05] Cause that, that is like one of the most, like, it is shocking to me how like human the,

[00:31:11] the expression is like, I mean, it's hard for me to even recognize that it's not a photo.

[00:31:15] Honestly, like you really captured it amazingly.

[00:31:18] Mm.

[00:31:19] I agree.

[00:31:19] Well, the other part of that one is I posed for the dude in the front.

[00:31:23] And at the time I had a full head of hair and that was the biggest joke to everybody was,

[00:31:28] I painted myself bald and fuck.

[00:31:31] I ended up being bald.

[00:31:33] You manifested it.

[00:31:34] I painted the finger on the monkey's paw curls.

[00:31:40] No, that was a, that is a thing is like, uh, cause I read, uh, it came from New Jersey.

[00:31:44] Um, and there were many times where you, you modeled yourself for a cover of a goose.

[00:31:50] Usually it's a time factor.

[00:31:52] It was generally, it was my ex-wife or it was me.

[00:31:55] What just cause she would do the females obviously.

[00:31:58] And I would do the males and you know, just cause it's like shit, it's nine o'clock at night.

[00:32:03] I don't have time to go looking for somebody if I could.

[00:32:07] Sure.

[00:32:07] That would be great.

[00:32:08] But a lot of time it just the, the schedule didn't allow it.

[00:32:11] So you, you did the best you could.

[00:32:14] And, uh, and, and that's always, that's always a fun exercise as an artist is okay.

[00:32:21] I've got this piece of reference.

[00:32:23] It's not perfect.

[00:32:24] And I need it to look, you know, completely different instead of going one to one.

[00:32:29] Like I got to make it exactly like that.

[00:32:31] That's easier than going.

[00:32:33] This is my starting point.

[00:32:34] Now I got to twist it just enough that it still retains that realness, but I've turned

[00:32:39] it into, you know, something completely different.

[00:32:42] And I feel like there's one that we're definitely going to get to, uh, in terms of that.

[00:32:47] If I know Bjorn enough, uh, I won't say it right now.

[00:32:50] I'm sure it's got his list.

[00:32:51] So we'll get to that when we get to that.

[00:32:53] He already did the hose while Tim was talking.

[00:32:55] We all know.

[00:32:57] Oh, but we'll get to that.

[00:32:59] Um, we always say that you're the real life, uh, buddy from.

[00:33:05] Sadly.

[00:33:06] Yes.

[00:33:07] Sadly.

[00:33:07] Yes.

[00:33:09] Um, Nick, what do you got for your number nine pick?

[00:33:12] Uh, so I went with a Craig white one.

[00:33:14] I almost want to stay out of the basement.

[00:33:16] Um, but I ended up going with.

[00:33:21] I don't actually have this book yet.

[00:33:23] So, right.

[00:33:25] So I don't know something about like, again, more body horror.

[00:33:29] Uh, and I think Craig really captured that with the cover.

[00:33:32] Cause I mean, it already looks like, uh, the kids either being turned into a plant or

[00:33:38] possibly that's a clone of a plant, you know, kind of stay out of the basement style.

[00:33:42] But when I was a kid, I remember seeing this cover and I was like, where are his eyes?

[00:33:47] And it's not until you really get up close to it that you see the kids looking off in the distance at something.

[00:33:52] So again, it, it kind of like plays with your imagination a little bit.

[00:33:56] Like, what is he looking at?

[00:33:57] Like dudes already turned into like a tree or a plant or something.

[00:34:00] So it's like, what could be more terrifying than that?

[00:34:04] Um, maybe he's just looking at his arm that's turning into a branch.

[00:34:07] I don't know.

[00:34:08] Um, but at first I thought he just had white eyes.

[00:34:10] So it was creeping me out until I went and looked at the cover and saw you looking off.

[00:34:14] So, but Craig does really well with, uh, with more like the, the body horror stuff.

[00:34:19] And I do have, uh, I believe I know for sure, at least one more Craig on my list and I've

[00:34:25] got a Mark Nagata and the rest are Tim, no surprise there.

[00:34:27] Um, but yeah, uh, that would be my number nine.

[00:34:31] I ended up going with, uh, your plant food.

[00:34:34] Nice.

[00:34:35] Awesome choice.

[00:34:37] Well, time to move on to number eight.

[00:34:39] And, uh, I finally have my first, uh, Tim Jacobus art.

[00:34:42] Now I had to, I just want to say, I love slappy covers.

[00:34:46] I love slappy.

[00:34:48] One of my favorite goosebumps characters.

[00:34:50] Um, but I had to only pick one slappy cover, uh, for my list and I'm going to go with living

[00:34:56] dummy too.

[00:34:57] Um, I love living dummy twos cover.

[00:35:00] Um, mostly because of the use of colors, the sort of childlike colors, the pink bed,

[00:35:07] the green and blue wallpaper and the flowers, the stuffed animals.

[00:35:11] And then right in the middle, you have creepy ass slappy, uh, just sitting there.

[00:35:16] Uh, it's a nice juxtaposition.

[00:35:19] Uh, it probably the best use of juxtaposition in terms of a slappy cover.

[00:35:23] Um, because of course the first one you have slappy, he's like, you know, giving that devilish

[00:35:28] smile, um, in the dark, but here you have like, it's the total opposite.

[00:35:34] It is like the brightest goosebumps cover ever.

[00:35:38] Um, it is really, this is just, this book had shine at night.

[00:35:44] It's so bright.

[00:35:45] It really popped on the shelf too.

[00:35:48] Like I do remember this glass.

[00:35:50] This was, this is one more, like I see it on the shelf.

[00:35:52] I don't know exactly what that one is.

[00:35:54] Um, but I love living dummy to his cover.

[00:35:58] I love how slappy is drawn here.

[00:36:01] I feel like it's like the best sort of drawing of slappy because he's just sitting there.

[00:36:06] He's like kind of slumped, but it's almost like he's still alive.

[00:36:11] Like it's not like he's completely lifeless.

[00:36:13] That's it.

[00:36:14] And that's kind of what adds to the creepiness of him.

[00:36:17] Um, yeah, it, I just love the juxtaposition on this one.

[00:36:20] It's one of my favorites.

[00:36:21] It's my favorite slappy cover.

[00:36:23] Um, I would say my second favorite is probably slappy's nightmare.

[00:36:27] Um, that'd probably be my second favorite.

[00:36:30] Uh, but living dummy two is my definitive number one in terms of slappy, but it is my

[00:36:35] number eight on my list.

[00:36:37] So yeah.

[00:36:37] That'd be the most colorful we spell book like ever.

[00:36:40] Like that's what I'm saying.

[00:36:41] It's, it's like neon almost.

[00:36:44] The idea was it was supposed to be a little girl's room.

[00:36:46] So, you know, just started pulling all the punches, make it as, you know, as

[00:36:51] un horrific as possible.

[00:36:53] So all the pinks and limes and everything else.

[00:36:56] And you know, the, the, the little bunny doll on the bed too.

[00:37:01] And having that look scared.

[00:37:04] Uh, yeah.

[00:37:05] Yeah.

[00:37:06] And him being the only thing that's wrong in the, in the picture.

[00:37:10] Yeah.

[00:37:11] It's like what you said, Isaiah, the way he, how he looks lifeless, like he's,

[00:37:15] like, he's dead, but it's almost like his body is just somehow holding himself up.

[00:37:19] Yeah.

[00:37:20] Like almost undertaker when he would like go.

[00:37:23] Yeah.

[00:37:23] Like that.

[00:37:24] Exactly.

[00:37:25] Yeah.

[00:37:25] So it's like, yeah, it's just the way that it's composed the way that the colors look.

[00:37:32] And again, just sort of like everything being right, except for one thing.

[00:37:36] And it's the, the thing that has the most attention on it.

[00:37:40] Sometimes that's like the most subtle thing.

[00:37:43] Um, yeah, it's just drawing your attention to just one thing in the room.

[00:37:47] The whole room can seem normal, but there's one thing in it.

[00:37:49] That's not.

[00:37:50] And that's where your attention is going to be the whole time.

[00:37:53] Um, I don't know.

[00:37:55] I feel like it's secretly brilliant in that, uh, in that regard.

[00:37:59] So that's my number eight Bjorn.

[00:38:01] What about you?

[00:38:02] Um, mine goes to Mark Nagata and, uh, as a kid, I was both freaked out, but also mesmerized

[00:38:12] by this cover up.

[00:38:13] I thought it was just such a cool piece and I would love to have it just blown up on a

[00:38:19] canvas.

[00:38:20] And that is choose your own adventure.

[00:38:23] Book number 19 escape from camp run for your life.

[00:38:27] I love that cover.

[00:38:29] Zombie creature things with worms, like literally popping out of their heads, like roasting

[00:38:36] bugs over a fire.

[00:38:39] And just, I love the background of the purples and the dark colors as just, it is so menacing.

[00:38:45] I don't know what it is, but there's something very unsettling about that cover.

[00:38:49] And it's like, uh, the return to living dead vibes.

[00:38:53] Kind of like the color scheme.

[00:38:55] Yeah, it is.

[00:38:55] It really is.

[00:38:56] It looks like something out of that movie, especially with, uh, you know, especially

[00:39:01] the, the counselor there with half of his face missing.

[00:39:03] So there's like skull and worms coming out of it.

[00:39:06] It's like, yeah, it's monstrous and it's designed, but it's, it's a really good one.

[00:39:12] It's a beautiful, um, beautiful cover.

[00:39:15] It kind of reminds me to like, I mean, it's hard to see on there, but the body's kind of like

[00:39:20] stitched together.

[00:39:21] Like it looks like the arms just got stitching, like holding it together, almost kind of like

[00:39:24] Sally from like nightmare for Christmas.

[00:39:27] Like it's kind of got that vibe.

[00:39:29] Um, but the one on the right, like the green ones.

[00:39:33] Exactly.

[00:39:33] Yeah.

[00:39:34] The green one on the right almost looks like his face is like being like pulled backward

[00:39:38] from behind.

[00:39:39] Like, it's almost like, I, do you know what I mean?

[00:39:41] Like it almost kind of looks like his, his eye sockets are being pulled back a little

[00:39:45] bit.

[00:39:46] Um, his lips are like exposing his teeth.

[00:39:49] I don't know.

[00:39:50] That's how it seems to me.

[00:39:51] Like maybe it was stitched a little too far.

[00:39:55] That's kind of what it looks like.

[00:39:56] Yeah.

[00:39:56] It's being pulled and stitched and it was just like a little too far.

[00:39:59] So forever he's just feels Hollywood vibes, man.

[00:40:03] Yeah.

[00:40:03] That's what happens when you get Botox.

[00:40:05] Hollywood vibes.

[00:40:07] I love camp.

[00:40:08] I love camp themed goose bump books anyway.

[00:40:10] So like, yeah, there's just something about that one that I don't know.

[00:40:13] It always freaked me out when I looked at it as a kid, I used to just kind of look at

[00:40:16] it and go, Oh, something about that one.

[00:40:18] That just makes me feel unsettled.

[00:40:20] And, um, yeah, the colors.

[00:40:22] And then as you get older, you start to appreciate everything else, like the colors and the little

[00:40:25] small details.

[00:40:26] So yeah, definitely.

[00:40:28] Uh, that's, that's my number eight for sure.

[00:40:31] Awesome.

[00:40:32] Tim, what do you got?

[00:40:33] All right.

[00:40:34] My number eight is, uh, is Brandon's again, and this is a stay out of the basement.

[00:40:42] So there was the first stay out of the basement, which was Jim Thiessen's, which was the hand

[00:40:48] coming around the door of the plant.

[00:40:50] Then I got a chance to do a version of it, uh, where you got a chance to see the whole dad

[00:40:55] downstairs in the basement.

[00:40:56] So then he had to revisit it again, but, uh, I don't know how well you can see it, but

[00:41:03] that's his, his version of it.

[00:41:06] I really liked what he did with this.

[00:41:08] He changed the angle on it.

[00:41:09] Uh, there's one thing that he does real well, because you even mentioned it in, uh, the, um,

[00:41:16] uh, attack of the jack-o'-lanterns is he can do vines better than anybody else.

[00:41:23] The vines take on almost muscular tone to them.

[00:41:27] They're there.

[00:41:28] They seem like they're, they have muscles and or veins attached to them.

[00:41:32] So the, the, the, the life that he brings into the veins on this one, it's great.

[00:41:38] And of course the lighting, um, if you look at it, it's, he's got some great compositional

[00:41:43] things going here where it's a series of triangles and the way he's got the yellow light lit using

[00:41:51] a triangle, you can't, it really grabs your eye.

[00:41:54] And the thing that you try to avoid in a composition is people eyes wandering too much.

[00:42:03] You want them to go to a specific spot.

[00:42:06] You can, they can loop, but what you don't want to do is have a composition where somebody's

[00:42:10] eye forces and leaves the page.

[00:42:13] And he does a great job of keeping your attention right where it needs to be.

[00:42:18] I agree.

[00:42:20] Hardly 100%.

[00:42:21] And again, it's, it's going back to the original artwork from Jim Feezen, but adding more to

[00:42:28] it.

[00:42:28] Like it's that homage with his own spin on it.

[00:42:32] And, uh, again, like it don't mean to sound like a broken record, but that's, that is

[00:42:38] a very, it's like his style almost for goosebumps.

[00:42:41] It's like paying tribute, but moving on to the future.

[00:42:44] Um, a little of the past, a little of the future more, more specifically.

[00:42:48] So, um, yeah, definitely.

[00:42:50] I agree.

[00:42:52] Joe, what do you got for number eight?

[00:42:54] Uh, very briefly before I say my number eight, I want to say that, um, it's so fun to like,

[00:43:00] hear the opinions on pieces that you might not have exactly, you know, adored.

[00:43:06] Like for me personally, uh, I'm not exact.

[00:43:08] I'm a bit of a slappy hater.

[00:43:12] So I'm sure, I'm sure my video you, you were like the whole time you were like, oh, but

[00:43:16] like, I mean, that's all for, for obviously for laughs, you know, in the video, in my

[00:43:20] videos, I'm like cranking it up a little bit just for like, just for fun.

[00:43:23] But I'm a lover of art.

[00:43:24] I love everything.

[00:43:25] I love all this stuff.

[00:43:26] So I'm just, it's great to hear, uh, some praise for things that I didn't praise in

[00:43:32] my video.

[00:43:33] Uh, but my number eight is something we've already talked about, uh, which is, um, it

[00:43:40] came from the internet.

[00:43:41] Uh, Craig, why this is my favorite piece of his.

[00:43:45] And I think, uh, I mean, you, you said it great is with all of the goose bumps stuff and

[00:43:50] just like the general composition.

[00:43:51] But for me, I think that this one just has a, like such a rich, uh, like it's, it's so

[00:43:59] dated, but in like the perfect way.

[00:44:03] Like there's really like the, the, the big box computer, everything down to the font that

[00:44:09] everything is written in like this, like typewriter font, like the, the blue hazy, like technological

[00:44:16] back and it, it is, it is just flawless.

[00:44:18] I think that just like the, the complete comp, like the artwork is amazing, but just the complete

[00:44:24] composition is, is really what brings it all together.

[00:44:27] Like it is just such a, a satisfying piece to look at.

[00:44:31] It's probably the most nineties.

[00:44:33] I'm not really sure if you guys, well, I know Isaiah did, but if you haven't checked

[00:44:38] out Craig white's, uh, page on his Instagram, he's got, and I know who, uh, owns it, but

[00:44:45] that piece he did with slappy that he did for the first time, which I love his look of slappy

[00:44:49] too.

[00:44:50] I believe he also had on that same image.

[00:44:53] It was the creature from octopus.

[00:44:55] Yeah.

[00:44:55] And it was, that's holding.

[00:44:58] Like, uh, yeah.

[00:44:59] It looked good.

[00:45:01] We're vamped version.

[00:45:02] And it was, it was fantastic.

[00:45:03] Like if you want to, I feel like you'd probably, uh, you know what I'll do?

[00:45:07] I'll link in the description, uh, the post from a nineties kids library who joined us

[00:45:13] in our last episode.

[00:45:14] Uh, he was the one who received that art.

[00:45:16] I'll leave a link to his Instagram post so you can see it for yourself.

[00:45:19] It's a great picture.

[00:45:20] Um, but please do check it out.

[00:45:22] Cause it's really, really good.

[00:45:24] I love, like, I think that like, it's the thing that's so great about it to me is that

[00:45:29] obviously just from looking at it, it is so, so nineties, but also it like by design,

[00:45:37] is the most nineties, like, like the plot of the story, like, like something leeching

[00:45:43] from the internet.

[00:45:44] Like most of the time, goosebumps books try to capitalize on some kind of like childhood

[00:45:49] fear, you know, like somebody in the window of a house, uh, on your block or, you know,

[00:45:54] a mask sticking to your face on Halloween.

[00:45:56] Like those are such childhood fears that most kids feel.

[00:45:59] And like, I, I love playing on like the fear of the internet in the nineties and like the

[00:46:05] early thousands and like that, like just seeing that brought to life is just so perfect.

[00:46:09] Yeah.

[00:46:10] That's why I love it.

[00:46:11] It's perfect.

[00:46:12] Y2K.

[00:46:13] Like pre Y2K, but even like, again, looking on the back cover here, it talks about like

[00:46:17] the whole thing happens cause a computer message flashes on your screen.

[00:46:20] And then, uh, and then your computer has a virus and then you, you got the virus.

[00:46:25] So you have to, is that not so charming?

[00:46:27] Is that not the most like charming?

[00:46:28] Yeah.

[00:46:29] Like that's like, you want to call a doctor who wants to eat, uh, you want you to eat computer

[00:46:33] chips and dip or let a hacker take you on a virtual reality trip.

[00:46:38] Like it's so nineties and I love it.

[00:46:41] It's honestly, it's one of the best give yourself goosebumps books.

[00:46:44] It really is.

[00:46:46] It is such a fun one.

[00:46:48] If I had to recommend any of these, I would say like this one all day nightmare.

[00:46:53] Like there's a few, but this is definitely on the list for that one.

[00:46:57] Um, so you, you are absolutely correct on that front.

[00:46:59] Um, it's the most nineties goosebumps book.

[00:47:02] Let's put it like that.

[00:47:05] Cripping balls.

[00:47:06] Uh, Nick, what do you got for number eight?

[00:47:10] Number eight is a Tim cover.

[00:47:14] Don't get enough love.

[00:47:15] Ghost speech.

[00:47:17] Uh, everything about this cover.

[00:47:19] Like I love cause I'm a big fan of like a lot of the ghost story graveyard, but when

[00:47:25] you throw in the moon with some shrouded crowds, man, I'm like clouds.

[00:47:29] I'm just like done.

[00:47:30] Like that's it for me.

[00:47:31] Uh, but the color palette I love too.

[00:47:33] Cause I mean, obviously you have that nighttime.

[00:47:35] So how do you, what's the best way to illuminate something at night with the moon?

[00:47:40] You know, cause most of the time you illuminate something, it's still very dark and not very

[00:47:44] visible.

[00:47:45] Um, but somehow the colors that were chosen for this, it still makes a pop, but you know,

[00:47:50] it's still nighttime.

[00:47:51] Like it's really a really great color palette, but I love the shrouded ghost, uh, with the

[00:47:57] cemetery.

[00:47:57] I mean, it's a very Halloween vibe.

[00:48:00] I mean, the book, I actually really enjoyed the episode.

[00:48:02] It sucked, but, uh, you know, that is what it is, but the cover, I mean, in the itself,

[00:48:09] fantastic.

[00:48:10] Um, like I absolutely love this one.

[00:48:14] I, I, I like another one of my tops, uh, that has another Tim art with the moon.

[00:48:19] I don't know how you do it, Tim, all the stuff with the moon, but I love it all.

[00:48:23] It's a great, it's a great thing to throw in a painting anytime.

[00:48:26] It's a great light source.

[00:48:27] I spent a ton of time just making that little wave break off the, to the right hand side,

[00:48:34] you know, least important part of it.

[00:48:36] But, uh, I had just got a book on how to paint waves and you know, the guy who did nothing

[00:48:43] but seascapes and I'm going, Oh yeah, that backlit thing where the, you know, the, the

[00:48:48] wave becomes a little bit translucent or transparent.

[00:48:51] And it's more of that, again, that line green that we all know associates with goosebumps as

[00:48:58] like, Oh yeah, yeah, yeah.

[00:48:59] Yeah.

[00:48:59] We're doing that.

[00:49:00] And I, I've used that, that sense of color in waves.

[00:49:06] Anytime there's a wave, I'm doing that trick.

[00:49:10] 100%.

[00:49:11] Absolutely.

[00:49:12] All right.

[00:49:13] Time to move on to number seven.

[00:49:15] Uh, this is one we've already talked about.

[00:49:17] Uh, I'm going to add, uh, my two cents onto it.

[00:49:20] Another Craig white.

[00:49:21] It's all day nightmare.

[00:49:23] Um, Bjorn is absolutely correct.

[00:49:25] This one is such an eye popper.

[00:49:29] Um, I mean, you just look at it.

[00:49:32] It's just the werewolves like just leaping at you and you have like the claw marks in the

[00:49:39] tree.

[00:49:39] It's such a perilous situation to be in.

[00:49:42] Um, and it's, did we spoil one of yours coming up, Nick?

[00:49:48] It's not surprising that this is probably on most, if not all of our lists for Craig

[00:49:53] life.

[00:49:53] That's true.

[00:49:54] But you can wear wolves and yeah, it's, it's, it's fantastic about the composition.

[00:50:00] It's like, it's a super well use of like nighttime colors because you have obviously

[00:50:05] like the moon I'm assuming is the light source coming from over here, but everything's still

[00:50:10] so shrouded in darkness.

[00:50:13] And then you have the, the, the eyes on the werewolf, like just that beady orange.

[00:50:18] Uh, it's such a ferocious looking cover.

[00:50:21] It honestly, I could see this one scaring me as a kid, uh, 100%.

[00:50:25] So, um, at this point I would just be repeating everything Bjorn said, but yeah, all day nightmare.

[00:50:30] That is my number seven.

[00:50:32] And, uh, and it was the last book to like number 42, like, and it's just, he, it's like almost

[00:50:38] like he thought this is the last one.

[00:50:40] So let's just, you know, bring it home.

[00:50:42] And, oh man, he really did with that one.

[00:50:44] It's just, it's beautiful.

[00:50:45] Like I remember I, that was at my scholastic book fair when I was six, because that book

[00:50:50] came out, what was it?

[00:50:51] Like 2000, right at the beginning.

[00:50:52] And yeah, that was like the, that was the newest goose bump book out like the last one, you know,

[00:50:58] when I started collecting.

[00:50:59] So I remember seeing that and it was one of the first ones I ever got, which has now become

[00:51:03] one of the rarest ones.

[00:51:04] So yeah, it's, it's a great book.

[00:51:09] Okay.

[00:51:10] Uh, Oh, number seven.

[00:51:11] All right.

[00:51:11] Uh, so everything on the rest of my list is Tim's.

[00:51:16] Um, I kind of got through the others.

[00:51:20] Now we're like, okay.

[00:51:21] Uh, but no, I'm going.

[00:51:22] Way back to the very beginning with this one.

[00:51:25] Uh, welcome to dead house.

[00:51:27] That is definitely my lucky seven.

[00:51:30] Uh, there's just something very ominous about it.

[00:51:33] This was obviously the goose bump book.

[00:51:36] That was like the most gory I would say.

[00:51:39] Um, and it's just something about the cover.

[00:51:41] I mean, obviously it's the original, but I just, the thing that really catches my eye

[00:51:45] every time I look at it is the, the dude in the window there.

[00:51:50] Yeah.

[00:51:50] And it's like the, the colors like orange, it's like there's oranges and reds and just,

[00:51:56] yeah.

[00:51:56] And, and I love how just, you just got the door flap just kind of opening, like, come

[00:52:00] on in.

[00:52:00] And it gives me like monster house vibes in a way, you know, all you have to do is add

[00:52:05] some like eyes here or something.

[00:52:07] But yeah, I just, I love this book.

[00:52:10] And obviously it was, it was the first one you ever did for goosebumps, Tim.

[00:52:13] So.

[00:52:14] Absolutely.

[00:52:14] The first one.

[00:52:15] And what's, it is interesting.

[00:52:16] You pointed out the guy in the window.

[00:52:18] Uh, when I'm at the cons now, I have the bigger prints and I sell that one.

[00:52:24] And at least once a weekend, somebody will go, holy shit, there's a guy in the window.

[00:52:30] I have never seen him before.

[00:52:32] I've been looking at this cover for 20 years and that's the first time I've seen

[00:52:35] him.

[00:52:36] So.

[00:52:37] That's cool.

[00:52:38] That's kind of what you want though.

[00:52:39] Right?

[00:52:39] Like you want it to be.

[00:52:40] Yeah, absolutely.

[00:52:41] Yeah.

[00:52:41] He was the, the crack in the door was where I wanted you to look, not him peeking around

[00:52:47] the window.

[00:52:48] That should have been second.

[00:52:50] If at all, which is great.

[00:52:52] I was going to say for this guy, not at all.

[00:52:56] It's just, it's just beautiful.

[00:52:57] I don't know.

[00:52:58] There's just something about it.

[00:52:59] I mean, obviously it's the original book, but yeah, I don't know.

[00:53:02] It's, it's, it's a very, um, I don't know, nostalgic.

[00:53:06] I just love it.

[00:53:07] I lost it.

[00:53:07] This is one that I, I always come back to and I'm always trying to look at all the

[00:53:11] little details.

[00:53:12] Like maybe there's something else hidden in here that I just can't see.

[00:53:14] I kind of feel like that guy from more rats.

[00:53:16] It's like trying to look for the boat.

[00:53:20] The painting.

[00:53:21] That's fine.

[00:53:22] Like I get that when I look at this book, for some reason, like maybe there's something

[00:53:25] hiding, like in one of the other windows and I just can't see it.

[00:53:28] And like, maybe if I put a light on it, like, I don't know, but yeah, no, I wasn't.

[00:53:32] I, I didn't do that.

[00:53:33] Uh, on the regular.

[00:53:35] I wish I, if I had more time, I would love to do a lot more Easter egg, drop stuff in,

[00:53:42] hide things.

[00:53:43] But nah, you know, I've had plenty of people go, Oh, I see this in there.

[00:53:49] I go, well, you shouldn't have smoked so much weed before you walked up to the table.

[00:53:54] Uh, it's not there.

[00:53:57] It's definitely not a Rorschach test.

[00:53:59] There's nothing there.

[00:54:00] Exactly.

[00:54:01] That's the great thing about it too.

[00:54:03] Is that like that one.

[00:54:04] And honestly, a few of the other early goosebumps books were like, they, they were a lot more subtle.

[00:54:09] I think people forget is like, there weren't like huge bombastic monsters on them.

[00:54:14] Like dead house and stay out of the basement of monster blood were like very, very subtle covers.

[00:54:19] Um, it was left more, it was more intriguing in a sense because you're like, Oh, this big creepy house.

[00:54:25] Like, well, what's in it?

[00:54:26] Like that sort of thing.

[00:54:27] And sometimes subtlety will get you a long way.

[00:54:29] Um, again, we were all kind of feeling it out.

[00:54:32] It wasn't, you know, there was, it wasn't clear what we were doing.

[00:54:36] I, you know, I, for all I knew at the beginning, you know, there was going to be more stories about the dead house.

[00:54:43] So it was like, well, let's just, you know, uh, just make it.

[00:54:48] Yeah. Like you say, make it a little bit eerie, but you know, don't, don't pull out all the stops.

[00:54:53] As we got down the road, then yeah, then we threw everything in the kitchen sink at it.

[00:54:58] Mm.

[00:54:59] Yeah.

[00:55:00] We nearly got a sequel.

[00:55:02] We nearly got one.

[00:55:03] Yeah.

[00:55:04] Almost did.

[00:55:05] Maybe someday.

[00:55:06] Not meant to be, but Tim, uh, what do you got for your number seven for me is who's your mummy?

[00:55:15] Oh, what I like about this one is it has that, that thing that RL used to always talk about where they're not only are we trying to be, you know, scary,

[00:55:27] but there's a little bit of humor mixed into this thing.

[00:55:30] So the mummy's getting ready to ring the doorbell and go in the house.

[00:55:34] Totally ridiculous.

[00:55:35] It's not supposed to happen.

[00:55:37] But, uh, again, what makes this piece nice is his use of light, you know, uses the crack of the door around them.

[00:55:44] Right late behind him.

[00:55:46] He's silhouetted off.

[00:55:48] And again, red eye.

[00:55:50] Every time you can put a red eye on anything and I'm going to love it.

[00:55:55] And people will always point it out.

[00:55:58] And, uh, one thing I want to bring up too, is that that mummy is like super sickly looking, like about how people usually draw mummies is that they're basically just, you know,

[00:56:10] wrapped up people.

[00:56:11] Like, uh, I, I haven't seen many mummy drawings that are different than like, maybe a little bit like scrawny, but you know what I mean?

[00:56:19] Um, but that mummy in that picture is like essentially bones.

[00:56:25] Like there is absolutely nothing going on down there.

[00:56:29] And the other thing he does here is exactly what he's doing with the, uh, the vine work in the stay out of the basement where he's taken so much extra effort on the way the, the, the, the wrappings go around the mummy and you know, they're the way they fall and way they're loose.

[00:56:48] It's all, yeah, I mean, it's incredible the way he's handled the cloth.

[00:56:52] Mm-hmm.

[00:56:53] I agree.

[00:56:54] One, 100%.

[00:56:56] Dello, what do you got for number seven?

[00:56:58] So, uh, my number seven is volume 24, uh, Phantom of the Auditorium.

[00:57:04] And like, I just want to throw Tim a question before I talk about this one.

[00:57:09] Cause in my video, I sort of like, uh, I sort of peg you as like a, a, a background artist, you know, but I wanted to ask you, do you think that you fall under an umbrella like that?

[00:57:21] Like, do you find, do you think of yourself as a character artist or a background artist?

[00:57:25] Or like for me, your, the, your strengths, your artistic strengths in perspective and like just everything that has to do with the background of a piece has always been like that.

[00:57:37] That's, that's, that was always what drew me to your art.

[00:57:40] So I guess I wanted to ask like what you thought.

[00:57:42] Yeah.

[00:57:44] Uh, the, I, I always liked the overall feel the, the, you know, setting the environment is as important, if not more important than the image itself.

[00:57:55] Um, my earlier stuff, uh, was way more, uh, you know, here's a whole new world and, you know, my main characters were definitely smaller in, in my early fine art stuff.

[00:58:08] So, um, yeah, I, I, I, again, another artist, everybody plug it in.

[00:58:16] I've mentioned his name a million times as Roger Dean.

[00:58:20] Uh, he's this incredible landscape artist, uh, surrealistic artist, not really a landscape artist, but the minute you look at it, you're going to go, man, these are incredible places.

[00:58:31] And I wish I could go there, but they only exist between that guy's ears.

[00:58:35] So I'm glad he could pull them out and get them on paper and we can at least visit, visit them two dimensionally.

[00:58:42] That's exactly how I feel about your art, honestly, because, um, me personally, I'm, I'm a character artist.

[00:58:47] Like I, my whole life I've always loved, uh, character design.

[00:58:51] Like that's always been my specialty.

[00:58:53] And so that's the reason that Phantom of the Auditorium is here is because that design is far and away my favorite character design in all of goosebumps.

[00:59:03] I think it is just so striking.

[00:59:05] I love the background is so simple.

[00:59:07] Um, this is just really you showing your strengths that you're not just a landscape artist, not just an environmental artist, but like, that's what really drew me in because that's the stuff that I can't do.

[00:59:16] You know, like as a character artist, that's the stuff that's super inspiring to me is your backgrounds.

[00:59:20] But I, I love, I love the Phantom's design.

[00:59:23] Like, uh, the stark white mask popping off of his like rich, like dark skin.

[00:59:28] It is, it is, it's flawless.

[00:59:30] It's, it's, it's definitely my favorite character design.

[00:59:34] And a special shout out to the artwork that you did for, uh, goosebumps, the musical adaptation of Phantom.

[00:59:40] Yeah, that was fun.

[00:59:41] Yeah.

[00:59:41] We revisited that.

[00:59:42] That was a, that was, that was a, you know, that was cool too.

[00:59:45] Cause that, that one went up, uh, um, one of those big giant, uh, uh, electrons on, uh, Times Square and, uh, it was multi stories tall.

[00:59:54] So, uh, yeah, uh, great guys who, who put that together, uh, very enthusiastic about their, you know, their play, their product.

[01:00:03] And, and, uh, yeah, they, they, they, uh, had a lot of success with that.

[01:00:07] They took it over to, to England and, uh, yeah, it's still, it's now making its way.

[01:00:14] And the second tier of the way plays go where I've heard it being done in a couple other cities right now.

[01:00:21] Absolutely.

[01:00:22] 100%.

[01:00:23] Australia, please.

[01:00:25] There you go.

[01:00:25] Right.

[01:00:27] Nick, what do you got for your number seven pick?

[01:00:31] Oh, no, I already showed it.

[01:00:35] You know what?

[01:00:37] I just went ahead and did it cause you were on it already.

[01:00:39] I was like, you know what?

[01:00:40] Bjorn's talking about it.

[01:00:40] You've talked about it.

[01:00:42] Grew it.

[01:00:42] Boom.

[01:00:42] Boom.

[01:00:43] Here's mine too.

[01:00:43] Cause I, you know, that was my number seven.

[01:00:45] And I guess, uh, for all that then I would assume.

[01:00:50] I'll take some time.

[01:00:51] Next.

[01:00:52] Let's move on to number six then.

[01:00:54] So, uh, a little bit ago, I, we were talking about subtlety in Goosebumps cover arts and this one was brought up, not in anybody's pick, uh, but just as an example.

[01:01:03] But my number six is stay out of the basement.

[01:01:06] Stay out of the basement by Jim Thiessen.

[01:01:08] Um, as we brought up Jim Thiessen, he did this cover art.

[01:01:11] And then there was another cover art in the original series, uh, Stanislaw Fernandez, who did be careful what you wish for the original one.

[01:01:18] Uh, so those are two other artists to take a look at, uh, in terms of Goosebumps, even though they only did one book.

[01:01:24] Um, but this one is iconic.

[01:01:27] Like, 100% iconic.

[01:01:30] Um, and I think it is probably the best use of subtlety because you have the hand coming out of the basement and while you can definitely tell there's leaves on it, you don't really know, like, is it a man or is it a plant?

[01:01:47] It's, again, it's tapping into that subtlety that makes you want to read and figure out what is this thing.

[01:01:53] Um, it's fantastically creepy.

[01:01:56] Like, I remember this was a cover art that made me like scared.

[01:02:01] Like, I didn't want to watch.

[01:02:03] I remember this cover art was on the VHS tape for the episode and I saw it in the library and I was just like, I do not want to watch that because I'm going to be scared.

[01:02:13] So, um, and just.

[01:02:15] And now your parents are going to be living in the basement.

[01:02:17] So that's weird.

[01:02:18] Yeah, exactly.

[01:02:19] They're going to tell you to stay out of the basement.

[01:02:21] That'll be your hand coming out.

[01:02:23] Because they don't already.

[01:02:25] Um, no.

[01:02:26] Uh, and also it's nice because it's just the hand.

[01:02:30] You don't see like an eye.

[01:02:32] You didn't get anything away.

[01:02:33] Right.

[01:02:34] Yeah.

[01:02:34] It's all in your imagination what's going on.

[01:02:37] Exactly.

[01:02:38] Brilliant.

[01:02:38] You imagine it.

[01:02:40] Uh, you just, sometimes it's better for what a kid can imagine.

[01:02:46] Uh, what something is going to be.

[01:02:48] Not just a kid.

[01:02:49] I mean, the unknown is that's the best design.

[01:02:51] That's the best character design for a horror villain.

[01:02:53] There is, is no design.

[01:02:54] You know, that's like by, by and large.

[01:02:58] Less is more.

[01:02:59] Yeah.

[01:03:00] And, uh, Tim, if I can ask you really quick, you mentioned that you did, uh, your version of this, uh, for the, the reprint in like the two thousands.

[01:03:08] Right.

[01:03:09] Um, and it was basically the design of the dad in the basement.

[01:03:14] Um, what, what was it like?

[01:03:15] You know, you were the one for once doing your take on a pre-established cover.

[01:03:20] Was it, was it difficult to sort of follow that up?

[01:03:22] Uh, I was, uh, what was great is there was no reason for them to ask me to redo those two covers that you just mentioned.

[01:03:33] The two that I didn't do on the first go around, stay out of the basement and be careful what you wish for.

[01:03:40] And it was only, uh, an art director just going, you know what?

[01:03:44] You should really do these two so you can say you did them all.

[01:03:48] They don't, they didn't really need them.

[01:03:51] And, uh, I hadn't done a goosebumps in a number of years.

[01:03:55] It was kind of like, you know, I'm semi-retired from the goosebumps series and to have come back and go, yeah, go ahead, you know, knock yourself out.

[01:04:04] That was a lot of fun.

[01:04:06] It was great to revisit them, uh, because I hadn't done them in a while.

[01:04:10] No, it wasn't, it wasn't hard or difficult.

[01:04:13] It was exciting.

[01:04:14] It was like, ah, cool.

[01:04:15] One more time, get to come out of the bullpen, throw a couple of curve balls and see what happens.

[01:04:20] So yeah.

[01:04:20] Turn to form.

[01:04:21] That's it.

[01:04:22] And as you said, get to complete the set.

[01:04:25] Now you can say you did all 62.

[01:04:27] Yep.

[01:04:28] Yep.

[01:04:29] Absolutely.

[01:04:30] But, uh, yep.

[01:04:31] That's my number six.

[01:04:32] It's an iconic one.

[01:04:33] Uh, and it's one that I've gone from really being scared of to super admiring.

[01:04:39] Uh, funny how that all comes around.

[01:04:41] So stay out of the basement is my number six.

[01:04:43] Bjorn, what do you got?

[01:04:45] My number six, we're going a little different now, different territory.

[01:04:49] Uh, it's still Tim's art, but I absolutely adore the Frightlight edition cover art.

[01:04:57] I love this so much as a kid.

[01:05:01] It wasn't just like, I mean, obviously the cover art was so beautiful, but like, it was

[01:05:04] the whole package deal that you get with this.

[01:05:07] But yeah, I used to stare at this cover all the time and I used to love, like I had

[01:05:13] a tree house as a kid as well.

[01:05:15] So the whole them sitting in the tree house, reading a goosebump book together while he's

[01:05:20] got the flashlight in his mouth, the dog, it's just like, this book is just, I don't know

[01:05:23] what it is.

[01:05:24] And obviously your use of the red compass just sealed the deal for me.

[01:05:29] Um, but yeah, this to me was just such an amazing cover and it, it includes three books that

[01:05:36] are in my top 10 favorite books.

[01:05:38] You have camp nightmare, jelly jam and, uh, ghost camp.

[01:05:41] So yeah, there's just, I don't know.

[01:05:43] I absolutely love this cover.

[01:05:45] I mean, I still haven't been able to, oh yeah.

[01:05:49] The owl that's hidden in the little.

[01:05:52] There he is.

[01:05:53] That's right.

[01:05:53] That's right.

[01:05:54] I forgot.

[01:05:55] I forgot.

[01:05:57] Like if you don't really study the company, you'll miss it.

[01:06:00] But, um, yeah, uh, this is definitely my number six pick.

[01:06:04] I love the Frightlight edition cover.

[01:06:05] Yeah.

[01:06:05] I like the tree house too.

[01:06:07] Cause you know, when I grew up, if you had anything that you want, you know, our houses

[01:06:13] were small.

[01:06:14] You had to go build an outbuilding on your own.

[01:06:16] We were building buildings, whether when we were young, it was just to put our stuff in.

[01:06:21] And then when you got older, that's where you were putting your Playboy magazines, but

[01:06:25] you had to build your own structures.

[01:06:27] And, uh, I built some awful, awful, uh, tree houses that, uh, thank God we didn't die.

[01:06:33] Uh, no building skills whatsoever.

[01:06:35] So that one was a throwback to some of our earlier, uh, earlier ones that look like they

[01:06:41] were coming down.

[01:06:42] Is there some Playboys hidden in there that I haven't seen?

[01:06:47] You gotta wait for him to grow up a little bit.

[01:06:51] Except instead of a stack of Goosebumps books, it's a stack of Playboys.

[01:06:55] I don't know.

[01:06:56] He can't get much older.

[01:06:57] He's bones.

[01:06:58] Because I always love seeing your interpretation of Curly, like on the non Goosebumps books.

[01:07:03] I mean, obviously these are Goosebumps books, but anytime he did the tales to give you your

[01:07:07] Goosebumps or like monster editions, but like his expression almost could be like maybe the

[01:07:12] Playboy is a Playboy.

[01:07:13] Yeah.

[01:07:15] I gotcha.

[01:07:16] He's got a marriage in there.

[01:07:18] Yeah.

[01:07:19] I was gonna say it's like how, how they used to do, you know, when you know, you had your

[01:07:22] book, but then inside you had your comic or whatever.

[01:07:24] He's got a Playboy in there.

[01:07:26] Oh, there's a, there's a, there's a joke right there.

[01:07:28] I couldn't, I'm trying to think of.

[01:07:29] Oh yeah.

[01:07:30] No, he's got a boner.

[01:07:31] I thought about it.

[01:07:31] I was just like, you know what?

[01:07:36] I missed it.

[01:07:37] I didn't, I didn't even see that coming.

[01:07:38] That's terrible.

[01:07:39] And I just gotta say, um, I, I, again, we don't know any of our lists going into this,

[01:07:44] but I just gotta say, I'm so glad we got some Curly, uh, representation in there because

[01:07:49] I feel bad.

[01:07:50] I don't have any Curly books.

[01:07:51] I was debating on it.

[01:07:52] I had a few in my, uh, in my initial list.

[01:07:55] Um, but they were eliminated in my top 10.

[01:07:57] Um, but I, the Curly ones are so good.

[01:08:00] Tales even Goosebumps, the monster.

[01:08:02] And I like the ones that were even off the, not even on books, the ones that were the calendar

[01:08:08] covers and the postcard books and, you know, uh, the one where he's riding the scooter in

[01:08:14] France and, you know, those were ones where we really just lost our minds on, you know,

[01:08:20] what, what we could do with them.

[01:08:21] And, uh, but that was always a fun assignment and except for the, uh, calendar.

[01:08:27] It was always a different format where when you're doing a book, every Goosebumps book,

[01:08:33] it's a square, always the same format.

[01:08:35] So anytime we broke that format and I was able to do a different composition, that was always

[01:08:40] cool.

[01:08:41] Definitely.

[01:08:42] I I'd say my possibly my favorite is the first monster edition because it's them in the bed

[01:08:47] and they're like screaming.

[01:08:48] And then you have the dog screaming too.

[01:08:50] Yeah.

[01:08:51] That was always fun.

[01:08:53] I just, I love all the Curly covers.

[01:08:54] I always did as a kid.

[01:08:55] And I always used to remember like, but as a kid, when, when I was like five, I used

[01:08:58] to read the book and be like, but wait, there's nothing about Curly in here.

[01:09:01] Like what the hell?

[01:09:03] Cause obviously you would wish that they just did a Curly book already.

[01:09:07] Like he's already other stuff.

[01:09:10] Yeah.

[01:09:10] Throw him a throw him a bone.

[01:09:11] I wish he stuck around as the, the mascot.

[01:09:14] I mean, yeah.

[01:09:16] Slappy became the mascot, but Curly was like the Crypt Keeper for goosebumps.

[01:09:20] Yeah.

[01:09:21] And it was really awesome to have that.

[01:09:24] Definitely.

[01:09:25] It really worked in the 90s.

[01:09:26] Yeah.

[01:09:26] It just worked so well back then.

[01:09:28] 100%.

[01:09:29] But it's all over advertising merch and t-shirts.

[01:09:33] I mean, wearing one right now from cavity colors.

[01:09:35] They, you know, they brought them back, but I mean, Curly was great.

[01:09:40] I loved seeing them on all that stuff and it just made it.

[01:09:43] I think that much more special.

[01:09:44] Cause again, like if you liked tales from the Crypt, that very much felt like he was our

[01:09:49] Crypt Keeper for goosebumps and you knew the stories inside were going to be, you know,

[01:09:54] the creepy stories, you know, and in that case, the camp stories.

[01:09:57] And I was more, I was always more of a, I was always more of a triple header.

[01:10:03] I love that design.

[01:10:05] Yeah.

[01:10:06] Design.

[01:10:06] It was always like the goosebumps mascot to me.

[01:10:08] It was like, I just loved, loved that character.

[01:10:11] In lefty and righty.

[01:10:12] Yeah.

[01:10:13] Lefty and righty.

[01:10:15] Every time I'm with you guys, it brings back forget all that shit.

[01:10:20] I need to bring you.

[01:10:22] I was lefty and slim.

[01:10:23] Curly's making a bit of a comeback.

[01:10:24] Why don't we get, you know, lefty, righty and slim?

[01:10:28] It could be next.

[01:10:29] Yeah.

[01:10:30] I mean, we're doing this top 10 list.

[01:10:32] It was not just a matter of looking at all the, you know, the original 62 or series

[01:10:36] 2000 was like, I was looking at every book, including like the monster edition covers

[01:10:40] and everything.

[01:10:40] And then I remember how much I loved the Frightlight cover art, like as a kid.

[01:10:45] And it just brought back, it brings like so many memories seeing that.

[01:10:47] Because I remember the first time I got it, it had the flashlight and it worked.

[01:10:50] Because it was like probably 2001.

[01:10:52] So, it was still working.

[01:10:53] And I remember like, yeah, it just, it's that fond memory, you know?

[01:10:57] I just love it so much.

[01:11:00] Number six.

[01:11:01] What do you got for number six?

[01:11:03] All right, number six.

[01:11:03] I've got the Wizard of Ooze.

[01:11:07] Ooh.

[01:11:09] That was a good one.

[01:11:11] Another one of Dorland's texture items where he really gets the texture going on.

[01:11:17] The ooze of the body.

[01:11:18] The red eyes.

[01:11:20] Again, can't beat that.

[01:11:21] And then he's using the green and all the lights that are flashing all over the place.

[01:11:26] The lightning, however you want to call it.

[01:11:29] The magic.

[01:11:30] And yeah, I like the tight cropping on it as well.

[01:11:34] Super piece.

[01:11:35] Super piece.

[01:11:37] Yeah.

[01:11:37] Brandon does well with Ooze too.

[01:11:40] That one.

[01:11:42] Every one he did with Monster Blood was really, really well done.

[01:11:46] I'm particularly fond of Monster Blood for Breakfast from Horrorland.

[01:11:51] That was a really good one.

[01:11:53] I feel like I'm the only person out there that like is totally in love with Monster

[01:11:56] Blood 4.

[01:11:57] I mean, I talk about it in my video, but man, I love that one.

[01:12:00] It's not on here, but it's one of my favorites.

[01:12:02] I'm the biggest defender of that one.

[01:12:04] It's a fun cover art.

[01:12:05] It's not a good, I don't think it's a good book.

[01:12:07] Oh, but it is a fun cover art.

[01:12:09] Absolutely.

[01:12:10] It's a really good cover art.

[01:12:11] Well, this stinks.

[01:12:15] That was one of the ones in the series where you're like, man, this book is terrible, but

[01:12:20] I love that cover art.

[01:12:21] So it kind of cancels it out.

[01:12:23] That was me with the backing first.

[01:12:25] Like, I love the cover art, but the story.

[01:12:27] That's the thing.

[01:12:28] You know what too?

[01:12:29] It could act as a hook, but it could also be like a, you know, it's like, at least

[01:12:33] that's good.

[01:12:34] I think Monster Blood 4 is the perfect place to end the original series because like Tim

[01:12:38] was talking about, like, Goosebumps is not just supposed to be scary.

[01:12:42] It's also supposed to be funny.

[01:12:44] And that image is like by far one of the funniest ones.

[01:12:48] The big lips.

[01:12:49] I like the one in the background sucking on the cover.

[01:12:54] He's blowing up like a balloon.

[01:12:56] Yeah.

[01:12:56] I love that cover.

[01:12:58] Oh, man.

[01:12:59] What do you got for your number six there, Joe?

[01:13:02] Mine was really, really close.

[01:13:04] So I want to give a quick honorable mention to The Knight in Screaming Armor by Mark Nagata

[01:13:10] for forgive yourself goosebumps.

[01:13:13] Because if you, like, I'm just telling you, I mean, as an artist, if you were asked to

[01:13:19] draw a horse in a dynamic pose wearing a suit of armor, ridden by a guy in a different suit

[01:13:26] of armor with like a mechanical bird flying around, that's like a nightmare.

[01:13:30] That is such a nightmare.

[01:13:32] And he makes it like, you can just so clearly see his vision.

[01:13:35] It is like, it's very, yeah.

[01:13:39] It's very also, it's very like boy coded.

[01:13:42] Like the bright red armor on the white horse.

[01:13:45] It feels like a, like a Lego or something.

[01:13:47] But my, my, my actual number six is the creepy creations of Professor Shock.

[01:13:53] This is not a book that I saw as a kid anywhere, but like scrolling through them for this video,

[01:14:00] it like, there was no other cover that caught my eye as much as this, the perspective.

[01:14:06] I think the perspective is what it is cranked to 11 or 12.

[01:14:11] But it is ridiculous just the way that this, this, it's like a fisheye lens.

[01:14:16] And I, this, the, the, the whole robotic thing.

[01:14:19] I also love like the detail is just ridiculous.

[01:14:22] Do you guys know, do you guys know the I spy books?

[01:14:27] Yes.

[01:14:27] You know, like, like this cover gives me that it evokes that feeling in me.

[01:14:32] You know, it's just that it's just something that you can just stare at for, for 15 minutes

[01:14:36] before you even start reading the book.

[01:14:37] And that's like, that's like the best compliment I could give one of these covers, you know?

[01:14:42] Absolutely.

[01:14:43] Well, it took me a while to even realize that he's missing the entire bottom half of his body.

[01:14:51] Like one day I just looked at it.

[01:14:52] I'm like, wait a minute.

[01:14:55] Where's the other half of his body?

[01:14:56] Also, I love, I think, I think of, of that whole series, like with the holographic covers,

[01:15:01] I think that is the most deserving of the holographic cover.

[01:15:05] Like it really, like, it's just, it's, it's just ridiculous how much that, that, that cover

[01:15:09] pops.

[01:15:10] It's stellar.

[01:15:11] Well, it's metallic.

[01:15:12] That was very 90s.

[01:15:13] Those mosaic, like kaleidoscope-y looking.

[01:15:17] Yeah.

[01:15:18] If you can't tell, I love, I love just the, I love that this feels like, like goosebumps feels

[01:15:22] like a period piece.

[01:15:23] Like that is the way that it should.

[01:15:24] Like it, like it is perfect for this, this, this era.

[01:15:28] It defined, it is like, it is part of like what people think of when they think of like

[01:15:34] the look of the 90s in a way, at least for me, like it is like, it is like you took nostalgia

[01:15:40] and like put it into a painting.

[01:15:42] Like it's, it's ridiculous.

[01:15:43] It's ridiculous.

[01:15:45] Definitely.

[01:15:46] Nick, what do you got for number six?

[01:15:49] His honorable mention is my number six.

[01:15:52] Night Screaming Armor.

[01:15:54] Uh, easily my favorite Mark Nagata piece.

[01:15:57] And I'm very excited to talk with him about it when he comes on.

[01:16:01] Um, and I don't know like his earlier work.

[01:16:05] Um, but it's kind of crazy.

[01:16:06] Cause when you look at like when give yourself goosebumps started, um, I know Tim, you did

[01:16:11] the first one, but I honestly thought like it was very close in design.

[01:16:15] Like until it took me a minute to look at it and see their slight differences.

[01:16:19] Um, I don't know if you took inspiration from your art continuing goosebumps.

[01:16:23] And I think we've talked about it on here a little bit before, um, before he finally

[01:16:27] kind of like, uh, tried to do his own kind of his art.

[01:16:32] Um, and I feel that really shined with this one.

[01:16:36] No pun intended with this cover being ridiculously shiny.

[01:16:40] Um, even outside the plastic it's in.

[01:16:43] Um, but yeah, every detail from the armor, uh, to the night, the horse.

[01:16:49] I mean, I absolutely love the cover.

[01:16:50] And again, moon, I don't know what it is with moon covers, but for me, it's, it's great.

[01:16:55] Um, and it always made me think of like Scooby-Doo.

[01:16:58] If you remember the, the night.

[01:17:00] Yeah, it does look very, it really like, it looked like a Scooby-Doo villain to me too.

[01:17:05] When I was a kid.

[01:17:05] So I was like, this is fantastic.

[01:17:08] So I'll quickly say about check Mark boxes for me, uh, in terms of a scary kids book.

[01:17:15] So, you know, we, we talked a lot about, uh, Craig White and Brandon Dorman, you know, succeed at,

[01:17:21] I think something that Mark Nagata succeeds at is, uh, the goofy nature of, uh, the Goosebumps books.

[01:17:27] I think his covers are, uh, I, I mean, this is a compliment, uh, the goofiest Goosebumps covers.

[01:17:33] He really hams it up in like a great way.

[01:17:35] Exactly.

[01:17:35] Like, uh, as we mentioned before, uh, beware the purple peanut butter.

[01:17:39] I mean, that's like, that is pure goofy.

[01:17:42] That's a prime example.

[01:17:44] I love it.

[01:17:45] Um, but like just the way he like draws, like even like screaming, uh, is still like inherently

[01:17:51] goofy.

[01:17:51] I remember like under the magician spell, you have like a kid sawed in half and you had

[01:17:56] the kid screaming, but it's like, ah, it's like a very silly scream.

[01:18:00] Um, so I think that's something he really excelled at was, uh, you know, making the

[01:18:05] horror like a little sillier, uh, which is what Goosebumps was supposed to be.

[01:18:10] It was supposed to be silly, scary stories.

[01:18:12] So I feel like that's something that he definitely succeeded at.

[01:18:16] Yeah.

[01:18:16] There was only one piece of merchandise to come out of the, give yourself Goosebumps books.

[01:18:22] There's one piece of merch and you know what it, can you, anyone guess what it is?

[01:18:26] And it's actually based on the first one.

[01:18:30] Oh yeah.

[01:18:31] It's a, yeah.

[01:18:33] Alligator.

[01:18:34] Yep.

[01:18:36] They made a, they made a, it was a stapler, right?

[01:18:40] Yeah.

[01:18:40] Yeah.

[01:18:40] Yeah.

[01:18:41] They made a stapler of that purple alligator.

[01:18:43] So the only thing that exists, that's like, and they almost did a mini figure cause on the

[01:18:48] back of those, um, mini figures and then they released like 20 out of the 40 is one of the

[01:18:53] little alligators as well.

[01:18:54] So I was like, we almost got a little figure as well, but yeah, it's sad that didn't do

[01:18:59] more stuff like relating to the, the give yourself Goosebumps.

[01:19:03] Well, speaking of give yourself Goosebumps and it's time to go into our top five.

[01:19:07] Uh, actually I'm going to give a quick honorable mention to curse a camp cold lake because I

[01:19:12] booted it out because, um, all this talk about Craig white really made me be like, you

[01:19:17] know what?

[01:19:18] Cause again, this was so hard to put together and I was going to put this one on here initially

[01:19:23] that I said, no, I want to put camp cold lake on there.

[01:19:25] Cause that one is really good, but you know what?

[01:19:28] Screw it.

[01:19:29] Check in time at the dead end hotel is my number five.

[01:19:34] Objectively.

[01:19:34] It's not as good as all day nightmare.

[01:19:37] Um, or the, uh, what was the other one?

[01:19:39] Or, uh, it came from the internet.

[01:19:41] I forgot about it for a second, but again, this was one that one of the first ones I ever

[01:19:46] saw.

[01:19:47] And the reason I love this is the green, like the green skeleton.

[01:19:52] I think, uh, Craig even said himself, like he didn't want to do white skeletons.

[01:19:57] If he ever did a skeleton, it was going to be neon green.

[01:20:01] Um, this one is just so good.

[01:20:03] I love this, the skeleton scowl.

[01:20:05] I love him handing you the key.

[01:20:08] Um, it's just so good.

[01:20:09] I can't even really explain exactly why I love this one more than the other ones I've

[01:20:14] mentioned at this point.

[01:20:16] I think it just screams goosebumps.

[01:20:18] Like, I really think that the green skeleton especially is really in line with like the

[01:20:21] no red policy, you know?

[01:20:24] Like it really, it just feels like it just breathes goosebumps.

[01:20:28] Yeah.

[01:20:28] It matches the logo a bit.

[01:20:29] It has like long fingernails.

[01:20:31] Like, I don't know if you can see the skeleton.

[01:20:34] That's long fingernails.

[01:20:34] That's Craig's interpretation of curly.

[01:20:36] Exactly.

[01:20:37] It could be.

[01:20:38] It could be.

[01:20:39] That's, that's curly.

[01:20:40] That's curly.

[01:20:42] The head position is great.

[01:20:44] It gives them a whole different attitude.

[01:20:46] Mm-hmm.

[01:20:46] Definitely.

[01:20:47] I love what he did.

[01:20:48] I tell you what, like that is one thing.

[01:20:50] Like, uh, when I was younger and trying to, uh, get more into art before I went to college

[01:20:56] for it and everything, hands, hands are so hard to draw for me.

[01:21:00] And oh my gosh.

[01:21:01] The positioning, how it looks to make it look real without looking too goofy or like a complete

[01:21:08] Picasso piece where it's just like a complete jacked up hand, uh, or multiple hand pieces.

[01:21:14] You think there's multiple there, but it's really just supposed to be one hands are so

[01:21:17] tough, man.

[01:21:18] I'm like, I almost just wanted to like hire somebody else to do the hands for me and I'll

[01:21:21] do everything else.

[01:21:23] I can draw hands.

[01:21:26] You learned that from Spon.

[01:21:27] You're hired.

[01:21:28] It is.

[01:21:29] It's, it's super difficult.

[01:21:30] Then you find that you start doing, you'll, you'll get your favorite hand positions and

[01:21:35] start to use the same ones over and over again because you know, they're effective and you

[01:21:41] tweak them a little bit, but you go, okay.

[01:21:43] Yeah.

[01:21:43] Now, yeah.

[01:21:44] Do number five again.

[01:21:46] Five.

[01:21:46] Great.

[01:21:48] Yeah, definitely.

[01:21:49] But, uh, yep.

[01:21:50] Check in time, uh, check out time at the dead end hotel, uh, is my, probably one of

[01:21:55] my favorite give yourself books.

[01:21:57] And I'm going to put it at number five on my list.

[01:21:59] Sorry, Camp Cold Lake, but you got one out by nostalgia.

[01:22:03] So, um, unfortunately this is the last non-Jacobus artwork in my list.

[01:22:09] So, um, yeah.

[01:22:10] Top ones.

[01:22:12] Definitely.

[01:22:13] But, uh, that's my number five.

[01:22:14] What do you got?

[01:22:16] This was hard, man.

[01:22:17] Cause like top five, this, this is, this is really getting into the difficult, like what

[01:22:23] the hell is my top five all time goosebump covers.

[01:22:27] Now this one, uh, as a kid, I didn't like looking at cause it scared me a little too much.

[01:22:35] It has probably one of the most freakiest looking faces that you have.

[01:22:39] Check it.

[01:22:40] Check it.

[01:22:40] Check it.

[01:22:41] Check it.

[01:22:42] Check it.

[01:22:42] Check it.

[01:22:43] Check it.

[01:22:45] Check it.

[01:22:55] Check it.

[01:22:56] I loved it, but I also hated it so much.

[01:22:59] I don't know what it was, but it just, it's so freaky, like some banshee looking thing.

[01:23:02] I don't know.

[01:23:03] But, um, yeah, I, but then I've gotten older now.

[01:23:06] It's become one of my favorites.

[01:23:07] I love it so much.

[01:23:08] And they actually brought out a skateboard with this design on it.

[01:23:12] I don't know if you've seen him, but like, it's a full on like, um, skateboard that they

[01:23:17] brought out using that design.

[01:23:19] So, um, yeah, but no, I just, I love the use of colors.

[01:23:22] I love this sort of house.

[01:23:24] It gives me like Dracula vibes in a way, like the house on the edge of the cliff kind of

[01:23:29] thing.

[01:23:30] Um, but yeah, there was something about this ghost that just, I don't know, freaked me out

[01:23:34] as a kid.

[01:23:35] So, um, yeah, I definitely had to put this one at number five.

[01:23:39] Uh, so yeah.

[01:23:40] Tim is a ghost.

[01:23:41] Yeah.

[01:23:41] A couple of things.

[01:23:42] I feel like.

[01:23:42] We spent special edition love.

[01:23:43] Yeah.

[01:23:44] A couple of things.

[01:23:45] Uh, the, the house that's in there was, uh, one of, uh, one of the three rejected

[01:23:52] sketch, one of the two rejected sketches for welcome to dead house.

[01:23:56] That could have been the first, uh, cover, but they liked the, the door cracked.

[01:24:02] And that character in there is the first version of curly.

[01:24:07] And they, they didn't like it at all.

[01:24:10] You know, they didn't know that if it was a guy or a girl, they hated his long hair.

[01:24:15] That's back then, you know, rock and roll hair, man.

[01:24:17] That's what it was all about.

[01:24:19] And, uh, uh, and then the fact that it was a ghost limited the stuff that we could do

[01:24:25] with them.

[01:24:25] And, you know, curly was going to do everything from riding a bicycle to playing hockey to

[01:24:32] doing, you know, all kinds of stuff.

[01:24:34] So cut off, gave him a butch haircut, turned him into a skeleton.

[01:24:38] And, uh, but that was, that's at least that's curly's cousin right there on the cover.

[01:24:44] It's curly's cousin.

[01:24:46] Oh my God.

[01:24:47] I kind of retract my statement a little bit.

[01:24:50] Because when they were talking about who that is, it's like, oh, that, that ghost is

[01:24:53] totally Tim.

[01:24:55] I was like, cause you know, you kind of had your facial features.

[01:24:58] Not quite as scary, uh, in real life, but you know, but the long locks, if y'all go look

[01:25:04] at Tim's old photos, he had a mane.

[01:25:07] It was gorgeous.

[01:25:09] It was kind of like, it was comical.

[01:25:12] It was comical.

[01:25:13] It was so long.

[01:25:15] Uh, Tim, what do you got?

[01:25:16] Yeah.

[01:25:17] Five.

[01:25:18] I got number five.

[01:25:20] Uh, I got the fifth grade zombie.

[01:25:26] Ooh, the gray one.

[01:25:28] So what I like about this one is he's really leaning into the realism of these kids and

[01:25:35] messing with their, their faces.

[01:25:37] They, they look way more realistic than the other stuff that he's done.

[01:25:42] The other stuff was, you know, leaning towards that fantasy cartoonish looking stuff that,

[01:25:48] you know, I had also done this one.

[01:25:51] This one goes dark.

[01:25:52] And if you were a seven year old kid and this was the first goosebumps you picked up, that

[01:25:57] might be the last one you pick up.

[01:26:00] Yeah.

[01:26:01] The faces are all in the way and like, yeah, it's, it's wickety.

[01:26:06] Yeah.

[01:26:07] Yeah.

[01:26:07] That this could easily be an adult horror book.

[01:26:11] You could easily get away with, uh, doing this for the, uh, the 18 and over market.

[01:26:18] Mm.

[01:26:19] I definitely agree.

[01:26:20] For sure.

[01:26:20] I've seen the gassy.

[01:26:22] And that's true.

[01:26:22] Like normally, like we see, like, uh, like we were talking about red eyes, but I like in

[01:26:27] this one that like, he went more yellow and they actually had not just yellow.

[01:26:31] Um, they actually did have, you know, their iris and everything else.

[01:26:35] And it's, but they're like still that green color.

[01:26:39] Um, so she picks up from the background.

[01:26:42] Yeah.

[01:26:43] All nicely done.

[01:26:44] Yeah.

[01:26:45] Mm.

[01:26:46] And Joe, I thought it was great.

[01:26:48] I liked the little girl's arm is actually about to rip off too.

[01:26:51] I kind of was surprised he got away with that.

[01:26:53] And her neck is wrong.

[01:26:54] Her neck seems to be almost broken as well.

[01:26:57] So yeah.

[01:26:58] I love when goosebumps designs, when goosebumps does zombie designs, like they're, they're

[01:27:04] gnarly for a kid's book.

[01:27:06] Like they don't shy away from the, the gore of it all in a sense.

[01:27:11] Um, one in particular, very shortly, um, which is on my list as well.

[01:27:16] But Jello, uh, what do you got for number five?

[01:27:19] Uh, so I went more quintessential for my number five and my number five is, uh, one day

[01:27:24] at horror land.

[01:27:25] Uh, I, I think that honestly, the, I mean, I could talk all day about this.

[01:27:32] I have any, I mean, in my video, I go on and on and on.

[01:27:34] But one thing I didn't say in my video that I think I've noticed is that one day at horror

[01:27:39] land really appeals to me as an artist because I think it looks so fun to make.

[01:27:46] Like, like, like while I'm looking at that piece, I can almost like see, uh, your process

[01:27:50] Tim.

[01:27:51] Like, I don't know.

[01:27:51] Like, I just, I love all of the texture work.

[01:27:54] The, the text, like painting text, that much of text is like not an easy thing to do,

[01:28:00] but it's rewarding.

[01:28:01] And like the, the textures that you were able to pull off in the ground and the tree, that's

[01:28:06] the best tree in goosebumps.

[01:28:07] That's the best tree in goosebumps by far.

[01:28:09] I love the colorway, the cotton candy colorway, the pink and blue.

[01:28:13] Uh, and I, and I love the, the background, like the sunset over the park is like, like

[01:28:18] this, the lines it, it like it, I'm a line art.

[01:28:21] I mean, as I'm a character artist and I'm also like, I, that's my favorite part of the

[01:28:25] process is line art.

[01:28:26] I'm a digital art creator.

[01:28:27] And like all of those little lines on the Ferris wheel and all of the scaffolding under

[01:28:32] the roller coaster and stuff.

[01:28:34] Like, it just looks, it looks so fun.

[01:28:36] Like it's, it's, it is, it invokes joy in me as an artist, just to look, just to see

[01:28:41] this piece.

[01:28:42] And it was fun for me because, uh, you do the sketches, you have your concepts and they're

[01:28:48] small.

[01:28:49] And, you know, I knew I wanted to have something going on in the background there and that

[01:28:54] doesn't get, you don't get a chance to make that happen until the painting's big and you

[01:28:59] now have a significant area to play with in there.

[01:29:02] And like you say, get all the scaffolding and get all the tents, tear up the edges of

[01:29:07] the tent.

[01:29:08] Uh, yeah.

[01:29:09] Make it a place where you're just going.

[01:29:10] Yeah.

[01:29:11] I'd like to go there, but maybe not, maybe not.

[01:29:15] And a great thing about, uh, that artwork, again, it, it, it acts as the hook is that

[01:29:20] the park is not the focus of the centerpiece.

[01:29:23] It's like right off in the background.

[01:29:25] The focus is the sign and like just a part of the horror's head.

[01:29:29] So again, it makes you want to read to see like, what is the park about?

[01:29:33] What are these creatures?

[01:29:35] It's genius.

[01:29:36] What a great way, what a great way to really open it.

[01:29:38] Like, like the start of the book, you know, like as a kid, you know, you, I'm sure this

[01:29:45] is everybody else that read these books too, but you put yourself in the shoes of the main

[01:29:49] character.

[01:29:49] Like, you know, and so for the, for the first experience that you have with the world of

[01:29:54] this story being, you know, looking out at the gate and the entrance, you know, that's

[01:30:00] really like thematic.

[01:30:01] And it really, like, it really just, it enhances the story in a way, you know, cause that's

[01:30:04] your image right when you start the story is you going to Oral and, you know, it's, it's

[01:30:10] like the one, one of the very few goosebump books that I find is on like everyone's top

[01:30:15] 10, even if it's like number 10, like it's on everyone's list.

[01:30:19] You know, like just the story, the cover art, whatever it is.

[01:30:23] Like it's, it's just, it's, it's like a quintessential, like you said, goosebumps book story, everything,

[01:30:28] you know, horror land became its own whole series.

[01:30:31] Do you know what I mean?

[01:30:32] Like it's very important to the like overarching goosebumps like narrative.

[01:30:37] I always imagine a goosebumps movie being centered in horror land with all the monsters.

[01:30:42] Do you know what I mean?

[01:30:43] Like, but they in horror land, like that's how I always imagined like a goosebumps film or,

[01:30:48] or a TV show, something, you know, like it focuses in the park itself, but you have all

[01:30:53] the monsters there.

[01:30:54] And not to mention it was like the first real big geographical location in the goosebumps

[01:30:59] franchise.

[01:31:00] Like everything was more focused on an individual monster or monsters.

[01:31:03] Like here, it was a whole location.

[01:31:07] A whole rose gallery as well of creatures, you know?

[01:31:10] Yeah.

[01:31:10] The horrors, the horror land horrors.

[01:31:12] Uh, but horror land itself was also like a big part of that.

[01:31:16] So, I mean, it's no, it's no wonder it got so much, uh, attention in, uh, in the, the

[01:31:22] Steven Spielberg game, but also like in the late two thousands, the series, you had video

[01:31:26] games, you had, uh, all kinds of stuff like that.

[01:31:29] So it's, it's no wonder at all.

[01:31:31] It was a big template for things to do with goosebumps game.

[01:31:35] Mm hmm.

[01:31:36] Exactly.

[01:31:36] A few really good, a few really good, um, browser games.

[01:31:41] That was my, that was my shit as a kid.

[01:31:43] Yeah.

[01:31:45] That was, that was, that was honestly like that game is what got me into the goosebumps

[01:31:51] fan club.

[01:31:52] And in turn, like, you know, the fandom surrounding it, not just the books, but like the community,

[01:31:57] you know?

[01:31:58] And so I have a real, real love for horror land.

[01:32:01] Yep.

[01:32:02] Absolutely.

[01:32:02] But it's a great cover art too.

[01:32:04] So I, I, like I said, definitely quintessential.

[01:32:07] I agree with you on that one.

[01:32:09] Nick, what do you got for number five?

[01:32:13] Uh, I'm sure it probably would have been on anybody else's list too.

[01:32:16] Uh, and I almost excluded it.

[01:32:19] Like I said, we had a lot of good ones to go through, but I ended up going with night

[01:32:22] of living dummy.

[01:32:23] There's just, uh, you know, we can talk about this one.

[01:32:26] Everybody has, uh, so I won't say much, you know, why this is a good cover.

[01:32:31] Let's, let's be real.

[01:32:31] Uh, I don't have to say her and talk about it really.

[01:32:35] I mean, look at that face.

[01:32:39] It's the only face a mother could love for me because I put it on my list.

[01:32:43] So, but terrifying.

[01:32:46] I know.

[01:32:47] I still love the fact that, you know, again, it goes with the green eyes.

[01:32:51] Um, instead of, I think in the book they were blue, but I think, I think green works better.

[01:32:58] I think that totally makes the rest of his face pop with the darker color, um, with the

[01:33:04] dark hair and even a little bit of light you have in the background here.

[01:33:08] So it's kind of like he's coming out of the dark.

[01:33:12] Uh, and I, I love that.

[01:33:14] That to me is like a terrifying thing.

[01:33:16] It makes me think of like Michael Myers in the 78 Halloween film when Lori's there and

[01:33:21] he's in the room and you just slowly start to get a little light on Myers space.

[01:33:25] So you can see that that's terrifying.

[01:33:28] Like more so than if he's just like right there and you can see him just that face coming

[01:33:32] out of the dark.

[01:33:33] Yeah.

[01:33:33] Cause I think it goes with well, very well with another child fear and then a lot of

[01:33:38] adult fears too, I guess of it's not that you're afraid of the dark is you're afraid

[01:33:42] of what's in the dark, what's inside.

[01:33:44] So that's showing you what's in the dark.

[01:33:48] Very good cover.

[01:33:50] Something about it.

[01:33:51] Yeah.

[01:33:51] The green.

[01:33:52] Talica's in there.

[01:33:53] That's who, that's who's in there.

[01:33:54] You created him with that, you know?

[01:34:00] And like it introduced, you know, to obviously how many books that followed and like, yeah,

[01:34:06] it's just.

[01:34:06] Yeah.

[01:34:07] And that one, that one just fell out because the ventriloquist dummies are, are already

[01:34:13] creepy.

[01:34:14] Even the ones that aren't trying to be creepy, they already are.

[01:34:18] So the, my lift was to not overdo it.

[01:34:22] It, you know, it's already happening.

[01:34:24] Just, you know, mess with his eyes a little.

[01:34:26] And like you said, bring him out of the darkness and we're done.

[01:34:30] Well, and I would be remiss if I didn't show this off really quick.

[01:34:34] This is one of the recently released slappy masks from a trick or two.

[01:34:40] And it is essentially pretty on one for one with the original cover.

[01:34:44] I would absolutely.

[01:34:47] For everyone.

[01:34:48] That's cool.

[01:34:48] I haven't seen that yet.

[01:34:49] Yep.

[01:34:50] And then really quick.

[01:34:51] They did.

[01:34:53] So they did your curly, but like the revamped 2000 version.

[01:34:58] Yep.

[01:34:58] Haunted mask, mud monster and Prince Koru the mummy.

[01:35:02] Here's the mud monster.

[01:35:03] Oh, wow.

[01:35:04] I think it's probably the most accurate.

[01:35:06] Yeah.

[01:35:07] That's good.

[01:35:07] Yeah.

[01:35:08] That's good.

[01:35:08] The mouth is right.

[01:35:09] Yep.

[01:35:10] So it's like perfect, perfect.

[01:35:12] But I had to show these off because these are probably, as I said, the most accurate

[01:35:16] one-to-one with the original covers.

[01:35:18] Yeah.

[01:35:19] Really took their, their time to, to make those look the way they do.

[01:35:23] So I had to show them off really quick.

[01:35:25] So now we're going to move on to number four.

[01:35:29] This next one is another one that's a personal favorite of mine.

[01:35:32] I'm not too crazy about the book itself, but I really love the cover art for the blob that

[01:35:38] ate everyone.

[01:35:40] Again, goopy, slimy things are a must for me.

[01:35:45] And I always loved this one.

[01:35:47] This was one where like, I saw this in a catalog and I'm like, I have to read that one because

[01:35:53] you just see the massive monster.

[01:35:55] Actually fun thing.

[01:35:57] If I'm not mistaken, this is the only one in the original series that is completely in

[01:36:01] broad daylight.

[01:36:02] Every other one is at nighttime or at sunset or at dusk.

[01:36:06] This is the only one in complete daylight.

[01:36:09] And I think that kind of helps it because it's like you have this completely suburban

[01:36:15] neighborhood totally might be something that the reader might be living in, but then

[01:36:21] you have this monstrous thing.

[01:36:23] And this, the tongue is the best part.

[01:36:25] The best part is the enormous tongue is laying out over this pile of car parts and bicycles

[01:36:31] and then just drooling all over the place.

[01:36:34] It's, I love it.

[01:36:36] It's so, it's scary, but it's silly.

[01:36:40] It's the perfect blend.

[01:36:41] And it's, I don't know.

[01:36:44] I feel like I'd be rambling if I went any further.

[01:36:47] I love this cover.

[01:36:48] It made me want to read the book, like probably the most besides my next pick.

[01:36:54] So probably the second most that I really wanted to read the book to see what happens.

[01:36:58] But blah, blah, everyone.

[01:36:59] That's my number four.

[01:37:00] I love it so much.

[01:37:01] One of my favorites.

[01:37:02] If I'm not mistaken, this is one of Tim's favorites, right?

[01:37:06] I've heard you go on record to say that that was one of the ones.

[01:37:09] I like that one.

[01:37:09] Yeah, because when I got done with the sketch, I was going, man, that just looks like a baked potato.

[01:37:18] Black and white, if there was nothing, if there was nothing going on there, I was like,

[01:37:23] ooh, this isn't really working.

[01:37:25] So the ones that kind of come around at the last minute and, you know, once you start putting

[01:37:29] the right colors, a little bit of paint, a little bit of shine on there and make it look wet,

[01:37:34] then all of a sudden I was like, okay, yeah, yeah, we got it.

[01:37:37] This looks like the surprising Ninja Turtles.

[01:37:38] Yeah.

[01:37:39] The surprising ones are always the ones that, you know, the art that exceeds your expectations

[01:37:43] is always the stuff that feels special because you're like, wow, you know, I saw it through

[01:37:47] and, you know, it really makes it feel worth it.

[01:37:49] The other side of it is I got no choice.

[01:37:51] There's no turning down.

[01:37:54] Hopefully it goes good.

[01:37:55] You know, sometimes the car goes off the road and you got to walk home.

[01:38:00] So, yeah.

[01:38:01] And I don't know if this is on your list, Tim, but Brandon Dorman did a great version

[01:38:06] of this one for that reprint.

[01:38:10] It was at night, I think, or sunset.

[01:38:14] The reprint one was at night.

[01:38:16] It was in front of a grocery store, which was pretty fitting.

[01:38:20] But I had to give a shout out to that because that was a reprint one where I was like,

[01:38:23] that is fantastic.

[01:38:26] You could have just changed the title.

[01:38:27] The blob that ate everyone.

[01:38:28] At night.

[01:38:30] Yeah.

[01:38:30] At night.

[01:38:31] Like Spongebob.

[01:38:31] Yeah.

[01:38:33] Jordan, what are you doing about your number four?

[01:38:35] My number four.

[01:38:37] Okay.

[01:38:37] So, we're getting into some Series 2000 now because I've mentioned this how many times

[01:38:42] when I was a kid, they were the ones that were the most recent.

[01:38:45] So, they were the most attainable ones in my Scholastic Book Fair.

[01:38:49] They were basically the shelves were just Series 2000 books with a couple of the original 62.

[01:38:54] But I have for number four, Return to Ghost Camp.

[01:39:02] That thing is Nightmare Fuel times one.

[01:39:06] That's fine.

[01:39:09] The book itself isn't that great.

[01:39:12] The original Ghost Camp is like almost a flawless story.

[01:39:15] It's such a good book.

[01:39:16] But I like the cover up for this one a hell of a lot better just because I don't know what

[01:39:22] it is.

[01:39:22] This really pops to me.

[01:39:24] I love the background of the trees.

[01:39:26] I love the colors.

[01:39:26] And I just, this is what really grabs my attention though.

[01:39:30] The detail down here.

[01:39:32] If you actually really look at that book, I mean, it's hard to see because it's got the

[01:39:36] glare on there.

[01:39:37] But the detail of the actual campsite, there's so many little fine lines in there.

[01:39:43] And I just, I love looking at it.

[01:39:44] I always, you look at the monster and go, oh, that's creepy.

[01:39:46] But then you kind of go down here and you're like, whoa, that actually looks so amazing.

[01:39:50] The actual finer detail.

[01:39:52] So yeah, I got to know, Tim, like what was the inspiration behind the skull?

[01:39:58] Actually, it worked the other way.

[01:40:00] I knew I was going to make a monster come out of the smoke and I needed that, the base there

[01:40:05] to work, you know, the fire in the fire pit and the five or six seats around it and get

[01:40:11] the shadows right so that it had a place to come out of.

[01:40:15] I was pretty sure I could get something to look like a ghost or a skeleton or something

[01:40:22] to work out of that wispiness.

[01:40:25] But yeah, the real work was getting the cabin and the fire and keeping the perspective right

[01:40:34] without it falling apart.

[01:40:35] And you go, oh, that building, there's something wrong with it.

[01:40:39] The roof's not on right.

[01:40:40] So yeah, no, that one was the farthest away thing is what I thought made the rest of it

[01:40:46] work.

[01:40:47] Yeah.

[01:40:48] It just showed like how far up it was going into the air.

[01:40:52] Yeah.

[01:40:54] And that's what was a fun change after the original 62 was to get away from the square

[01:41:02] box and then use the whole background.

[01:41:06] So now we were doing 20 inches by 30 inches.

[01:41:09] So I had a whole other 10 inches.

[01:41:11] Although it was going to be covered up with text, there was still texture and things that

[01:41:16] I could put up in there.

[01:41:18] And we could carry the, you know, the wispiness of that, that smoke monster or ghost up to

[01:41:23] the top.

[01:41:24] And like you said, you could still see the trees and everything else.

[01:41:27] So yeah, it was fun to do those extra, that extra area of, uh, of paintable space.

[01:41:35] Yeah.

[01:41:35] I remember the first time I saw the cover, like as a kid, I remember just seeing it and

[01:41:40] going, Ooh, like that looks freaky ass.

[01:41:43] What the hell is this?

[01:41:44] And that was part of the instructions of the 2000 series was go ahead, ramp it up.

[01:41:50] You know, the, the goosebumps kids are a little bit bigger now, you know, they kind of become

[01:41:55] accustomed to what you're going to do.

[01:41:57] So if you want to go a little more edgy and, uh, yeah, that was great.

[01:42:02] It was fun.

[01:42:03] Yep.

[01:42:03] Yeah.

[01:42:04] I love it so much.

[01:42:05] Tim, what do you got for number four?

[01:42:08] All right.

[01:42:09] Against another one that's, uh, we're, we're sticking with the mummy and the dummy, uh,

[01:42:15] which is the name of it.

[01:42:17] Dummy meets mummy.

[01:42:20] Yes.

[01:42:20] I'd like this one.

[01:42:22] I liked the, you know, I liked the comic element of it.

[01:42:25] Uh, again, same thing.

[01:42:27] And you're getting a two for one here.

[01:42:29] You're getting the mummy character and you're getting slappy in there as well.

[01:42:34] So yeah.

[01:42:36] Beautiful.

[01:42:37] Beautiful.

[01:42:37] Beautiful piece.

[01:42:38] Great green.

[01:42:39] Like, um, yeah.

[01:42:40] It's kind of like what Greg did, where he infused two monsters, where he did like the double

[01:42:45] squid, but like wrapped around slappy.

[01:42:47] That's kind of like the mummy wrapped around slappy.

[01:42:50] Like, so.

[01:42:50] Exactly.

[01:42:51] Yeah.

[01:42:52] It was involving them and taking them over.

[01:42:54] Uh, you're right.

[01:42:55] And this was the, the, the, the greens that he used on this one were, uh, a little less

[01:43:02] of the lime green and more of the teal.

[01:43:04] And that, uh, that teal color is, is brilliant.

[01:43:08] That works real well and gets stuff to pop off.

[01:43:12] Again, he controls his value.

[01:43:14] So well values, meaning, you know, the controls of light against dark.

[01:43:18] Um, yeah, he's a master at it.

[01:43:21] Absolutely.

[01:43:23] Jello.

[01:43:23] Uh, what do you got for number four?

[01:43:25] Uh, so my number four, even though I talked earlier about, you know, sort of seeing Tim

[01:43:30] as a background artist and my number four is piano lessons can be murder, uh, specifically

[01:43:36] very specifically the 2004 re-release edition, because, uh, in the 2004 re-release, what they

[01:43:44] did was they flipped the artwork and then they added the, this blue border around the

[01:43:50] whole thing, this bright, vibrant blue.

[01:43:53] And that color, like it literally the only thing that I wasn't in love with.

[01:44:00] Yes.

[01:44:00] Like I think it enhances the piece.

[01:44:03] Like it enhances your artwork so much.

[01:44:05] Like it makes it pop so much.

[01:44:07] Usually I really, really did not like the 2004 re-releases because I didn't like that.

[01:44:13] It took less real estate of your art away, you know, like the, the borders on the outside,

[01:44:18] they were not planned, you know?

[01:44:20] So when they, they kind of clash with your artwork in a way, like slightly with the composition,

[01:44:24] but this one, there's nothing to clash with, you know, that there's, there's no, so it

[01:44:29] really, it really truthfully like enhances it.

[01:44:31] And I love that the perspective that's usually in your backgrounds is in the piano itself.

[01:44:36] You know, you really, you know, that was the only thing you had to do.

[01:44:39] So you, you cranked it up.

[01:44:40] I think that's so, so fun.

[01:44:42] And, um, I think this one really perfectly rides the line between it's like a little creepy, but

[01:44:47] it's like, it's funny.

[01:44:49] It's just wacky.

[01:44:49] Like that is the goosebumps vibe.

[01:44:50] It's just, it is just, it's just wacky.

[01:44:52] Like it's perfect.

[01:44:53] I really love it.

[01:44:54] It's very quintessential.

[01:44:55] Play it again, hands.

[01:44:58] It's just, it's just so silly.

[01:45:00] And that, and yeah, specifically, specifically the 2004 version, I think it is like far and

[01:45:05] away the best of those re-releases because it's the only one that I feel like didn't

[01:45:10] detract from the artwork a little bit, you know, because it, like I said, it's, it's

[01:45:13] just shrinking it ever so slightly, but that little bit, it does, it doesn't matter for

[01:45:18] composition, especially like in some of the, the big outside scenes, like, um, the blob

[01:45:23] that ate everyone or, uh, the, uh, nightmare on shock street or shock on shock street.

[01:45:29] Uh, those pieces really, I think didn't benefit so much from that border, but the, that that's

[01:45:35] that 2004 re-release that one is, it just speaks to me.

[01:45:39] And I, and I can't remember whether we have a discussion about it or not, because I maybe

[01:45:45] in my sketches again, I could be wrong.

[01:45:47] Um, we had the hands more, you know, hacked off and the fact that we clean that up and

[01:45:55] just made it a clean cut as if they were surgically removed off.

[01:45:59] Yeah.

[01:46:01] It definitely made it, I think made it work better on that particular one.

[01:46:07] There's plenty of room for the hacking and the cutting on other covers, but, uh, that one,

[01:46:12] yeah, I liked the clean cut.

[01:46:13] Mm-hmm.

[01:46:15] It would have been kind of cool to just have a little bone protruding at least.

[01:46:18] Like you could keep the clean cut.

[01:46:20] Yeah.

[01:46:20] Yeah.

[01:46:23] Like that sort of thing, but you can't want them all.

[01:46:26] In the TV show, they had the hands, but they were like the, like the gloves.

[01:46:30] Oh yeah.

[01:46:30] They had gloves on them.

[01:46:32] They were still physical hands.

[01:46:34] Yeah.

[01:46:35] But I like just the hands, like just regular hands playing a piano.

[01:46:39] It's, it's a really fun one.

[01:46:41] Nick, your turn.

[01:46:43] Number four.

[01:46:45] Uh, one of my favorite covers from series 2000, but easily my favorite story from series

[01:46:51] 2000 as well.

[01:46:54] Headless Halloween.

[01:46:56] Oh, I absolutely love this one.

[01:46:59] Number one actually.

[01:47:00] Uh, I am like obviously big into the Halloween stories and the Halloween art.

[01:47:05] Um, so wouldn't surprise some of you to know what my number one is.

[01:47:10] If you follow us for more than one episode, however, um, you know, one that didn't make

[01:47:15] it, but deserves an honorable mention besides attack of the jack-o'-lanterns is the Haunted

[01:47:19] Mass 2.

[01:47:19] I do love that one as well.

[01:47:21] But when you compare it to something like the series 2000, where you can ramp it up a little

[01:47:24] bit more and like, I just love the head.

[01:47:28] Like it's grotesque, but funny at the same time.

[01:47:31] Uh, I mean, and, but it goes right back to the Homer Simpson vibe to it.

[01:47:37] It does.

[01:47:38] Yeah.

[01:47:38] It really does.

[01:47:40] I didn't know about that, but it really does.

[01:47:43] That's funny.

[01:47:44] Yeah.

[01:47:44] No, it's mean.

[01:47:46] But I'm like, again, like jack-o'-lanterns are my jam.

[01:47:50] I mean, I've got them all over my house.

[01:47:52] Um, so this cover really spoke to me, but the story is great too.

[01:47:56] So it was just a bonus.

[01:47:57] The story was great, but definitely one of my favorite pieces.

[01:48:00] One of the better series 2000 stories for sure.

[01:48:03] Well, it's time to move on to the final three, the final countdown as they sing in the song.

[01:48:10] Uh, it's time to go on to my number three spot.

[01:48:14] Mine is probably the most nostalgic of them all.

[01:48:17] My favorite OG 62 cover is you can't scare me.

[01:48:22] Oh, wow.

[01:48:23] I love this one.

[01:48:24] I really, really do.

[01:48:26] I know.

[01:48:27] I know Joe, you're, you're not a big fan on this one.

[01:48:30] That was my number 62.

[01:48:33] I know.

[01:48:34] So I was going to, I was going into it.

[01:48:36] I'm like, maybe I'm going to, maybe I'm going to be a little bit an outsider on this one.

[01:48:40] I'm sorry though.

[01:48:41] I'm sorry that my video was like, cause, cause, cause you, you love slappy and you love like

[01:48:45] the goop and ooze villains, which is the total flip of me.

[01:48:50] Hey, I mean, it makes for interesting opinions.

[01:48:52] So don't apologize at all.

[01:48:54] It's all taste.

[01:48:55] But for me personally, I love this one.

[01:48:57] And if we do the, uh, the fight, I mean, it'll be, it'll be live on pay-per-view.

[01:49:02] It'd be better than that Jake Paul.

[01:49:03] It'll be better than the Jake Paul Mike Tyson one.

[01:49:06] So it'll be much better.

[01:49:09] But again, pinnacle of goop is this one.

[01:49:13] I just love, I love that.

[01:49:15] It almost looks like they're definitely human.

[01:49:18] Um, but it almost looks like they could just be like completely made out of mud.

[01:49:22] Like you don't know where the, the mud like ends and the person begins in a little sense.

[01:49:28] Um, I like that there's one that is like just emerging right here.

[01:49:32] There's one that's halfway through.

[01:49:34] And then you got this one that's just like slowly crawling.

[01:49:37] And as we mentioned, you know, Tim, you modeled yourself for some of your covers.

[01:49:41] This is one of the ones that you did was, uh, this front one doing the, you know,

[01:49:46] it was like all three positions.

[01:49:48] There's a, there's a somewhere.

[01:49:50] Yeah.

[01:49:50] Yeah.

[01:49:50] Yeah.

[01:49:51] Wow.

[01:49:52] Wow.

[01:49:53] Wow.

[01:49:53] That's really cool.

[01:49:54] I, I, I knew about the one, I didn't know about the other two, but, uh, and not only that,

[01:50:00] but just like, this is something I felt was lost whenever they use the mud monster in promotion.

[01:50:05] The, the use of like, you know, leaves and vines that are part of the mud.

[01:50:10] Um, like it's not just mud itself.

[01:50:12] There's just like all sorts of like, like, you know, sticks and raves and vines and stuff

[01:50:18] inside it too.

[01:50:19] So it just made it look more monstrous and disgusting.

[01:50:22] Um, it, it, it's such a good one.

[01:50:25] I love the use of oranges and browns.

[01:50:27] Yeah.

[01:50:28] I was going to mention that that's a unique, uh, color palette from all the other ones.

[01:50:32] It's actually kind of limited.

[01:50:34] It's just the yellows and oranges, little bit of the teal in the shadow just to keep, keep

[01:50:40] it rich.

[01:50:40] But, uh, it was nearly monochromatic being, you know, it's when I first started it on the

[01:50:48] little color cop, it was just orange.

[01:50:50] And, uh, I, I knew it was going to work, but yeah, uh, the yellows, uh, made it pop.

[01:50:57] And to your point, it is, they are supposed to be part of the, it's all, they're coming

[01:51:02] out of the ooze.

[01:51:03] So they're, you know, it's all the same thing.

[01:51:06] The mud is them.

[01:51:07] They are the mud.

[01:51:09] And finally, the, uh, the face, the, the face of the main one, especially, um, is just because

[01:51:16] there's no, the mouth is just a gape.

[01:51:19] There's no pupils.

[01:51:20] It's just, it's just black holes in the head.

[01:51:24] It's, I, I gush about that.

[01:51:27] It's my favorite OG 62 one.

[01:51:29] The next two are going to be, uh, non OG 62, but, um, I love this one.

[01:51:36] One of my absolute favorites from when I was a kid.

[01:51:39] Um, yeah, there's not much else I could say about it without rambling.

[01:51:43] You can't scare me as my number three.

[01:51:45] I love it a lot.

[01:51:46] So that's that, uh, Bjorn.

[01:51:50] For my number three, I have attack of the graveyard ghouls.

[01:51:57] That is going to be the most goriest of the goose bump covers.

[01:52:02] Would you say it is Tim?

[01:52:03] Like that would be a hundred percent.

[01:52:05] Yeah.

[01:52:05] There's a, there's an eyeball hanging out there.

[01:52:07] There was no way they were.

[01:52:09] That was so much fun.

[01:52:11] Absolutely.

[01:52:12] It thrilled me to death.

[01:52:14] Yeah.

[01:52:15] Exposed bone.

[01:52:16] I mean, that's another really cool tree.

[01:52:18] I like that tree.

[01:52:19] Yes, it is.

[01:52:21] But yeah, no, uh, honestly, I've mentioned this so many times already in different videos,

[01:52:27] but there's just something about that cover art that again is very, very unsettling, even

[01:52:33] though it's not really zombies in the story, but there's just, I don't know.

[01:52:38] There's something about it.

[01:52:39] Like obviously when they did the goose bumps movie, they did the ghouls and they made them

[01:52:43] look like zombies.

[01:52:44] Um, as we've sort of said on this channel, how many times that they've just looked at probably

[01:52:49] the covers and went, Oh yeah, we'll do that.

[01:52:52] That's an easy one.

[01:52:53] Let's do that.

[01:52:55] The, the, the part I like in that cover is the, just the, the touch of flesh tone that's

[01:53:01] left on its middle knuckles.

[01:53:03] That's the only thing that's human that's left on them.

[01:53:07] The rest of it has all disappeared.

[01:53:10] No, it's, it's, it's such a great cover.

[01:53:12] And I think what really, um, accents this to make it really pop is because obviously on

[01:53:16] the series 2000 books, they did the raised, not just on the goose bump letters, but they

[01:53:21] run as well.

[01:53:22] So the emboss, it just really popped this cover particularly with all the different like

[01:53:28] flesh and bone and all that.

[01:53:30] So yeah, no, that's definitely my number three.

[01:53:32] It's just, it's, it's my favorite of the series 2000 covers.

[01:53:35] 100%.

[01:53:36] It's just such a beautiful, um, piece.

[01:53:39] So yeah, this is another one I'd love to get blown up and put up on the, on the wall.

[01:53:42] So I might have to get one of those Tim.

[01:53:47] Yeah, I got it.

[01:53:48] I got to start mixing in some of the two thousands into the, into the store.

[01:53:53] Those are definitely ones I would get to, I would proudly hang those on my wall, but

[01:53:58] uh, what do you got for your number three pick?

[01:54:01] My number three pick is planet of the lawn.

[01:54:09] Revisiting a couple of classics.

[01:54:11] Now I dig his version more than mine.

[01:54:15] My guys were all supposed to be a joke and, uh, you know, they were more comical than anything

[01:54:21] where these, these guys are bad-ass.

[01:54:25] They, they, they're frightening.

[01:54:27] He's got all of it working there and the choice of colors here.

[01:54:31] Very cool.

[01:54:32] The teals and the reds work really well here.

[01:54:35] And it's, it's, it's simple.

[01:54:37] It's just them.

[01:54:38] And that's all you need.

[01:54:40] You didn't need to put in anything else.

[01:54:42] It all happens right there.

[01:54:45] Yep.

[01:54:46] Yeah.

[01:54:46] Absolutely.

[01:54:47] Again, that's the beauty of the most wanted covers is that the monsters were the pure focus.

[01:54:52] Didn't need to have anything else.

[01:54:53] It was just putting them on there and make them look as ghoulish or gross as possible.

[01:54:59] Um, like murder, the clown.

[01:55:01] We got our introduction to him in the, the most wanted series as well.

[01:55:05] Like, cause I remember when the, the, the movie came out, everyone was like, who's this

[01:55:09] clown?

[01:55:09] So that book came out right at the time of the film to like, it was almost like, you

[01:55:14] know, sometimes when they bring out like a book or whatever, and it's like, Hey, this

[01:55:17] is going to be in the movie or this is going to, it's almost like they, that was one of the

[01:55:21] very few books they gave us from the most wanted.

[01:55:22] And again, like they really focused on him, you know, even like not the public people,

[01:55:27] like you really focused on the two marionettes as opposed to like what's in the background.

[01:55:31] So yeah, no, you're right.

[01:55:32] The most wanted books did focus on that.

[01:55:34] Like the main focus was just the monster.

[01:55:37] Yeah.

[01:55:38] Jello, what do you got for your number three?

[01:55:41] Uh, so briefly, I just want to say, if you want to have me back, I think a good video could

[01:55:47] be, we could, you could talk about, uh, the top five of each of our international covers,

[01:55:52] because that's something I totally didn't even think about for this list, but so many,

[01:55:56] especially of the Asian want, like the Japanese Chinese and the South Korean, the South Korean

[01:56:02] covers are mind blowing.

[01:56:05] Yeah.

[01:56:06] Like I, I would love to get to talk about some of those.

[01:56:10] I mean, the it's Korean cover for you can't scare me.

[01:56:12] Like that one is haunted.

[01:56:14] The South Korean one for the non gnomes, the revenge of the law gnomes is the one that

[01:56:18] made me remember that.

[01:56:19] Remember this in the first place, but I think that could be a really fun, uh, topic.

[01:56:24] I think so too.

[01:56:26] Absolutely.

[01:56:27] Uh, cause I think you had an episode looking at, uh, the international versions of the characters.

[01:56:31] So we got to see versions of those covers, but, uh, that would be a really good one to

[01:56:35] revisit.

[01:56:36] Um, most of the bloods have to do that.

[01:56:38] Oh, freaky.

[01:56:39] Do you remember that one?

[01:56:40] The one of cuddles like holding the kid?

[01:56:42] Like that?

[01:56:43] I think it was the German one.

[01:56:44] I was like, what?

[01:56:45] French one.

[01:56:46] Yeah.

[01:56:47] The French covers, the French covers are ridiculous.

[01:56:49] The French, like, uh, the mutant.

[01:56:51] Oh my gosh.

[01:56:53] It's yeah.

[01:56:53] It's crazy.

[01:56:54] But my number three, uh, I'm actually going to go to series 2000 as well.

[01:56:59] Uh, mine is a bit of a tie between, uh, horrors of the black ring and brain juice.

[01:57:06] And the reason that these two are my favorite is because I really feel like, um, series

[01:57:12] 2000, not just in like its tone, but in, in Jacobus's art, it really took on this, this

[01:57:19] darker, you know, feeling.

[01:57:22] And both of those covers are very, very dark.

[01:57:25] Like the horse of the black ring is just entirely this, like, like it's jewelry.

[01:57:30] It's, it's jewelry.

[01:57:31] It's bright, shiny jewelry, but it's dark.

[01:57:34] It's all like black and purple and blue and like all of the golds and all the silvers are

[01:57:39] so muted.

[01:57:40] And so that ring in the center just pops so much.

[01:57:43] It's the same thing with, with brain juice.

[01:57:46] If I had to put one above the other for my official number three, I would say brain juice because

[01:57:49] the, the it's, it's the most, like you were talking about value earlier.

[01:57:54] It is the, it is the starkest contrast between like this big thing up in your face.

[01:57:59] And then there's just like this, this void behind it.

[01:58:01] And I really think it like it captures what series 2000 was in a fantastic way.

[01:58:07] Yeah, absolutely.

[01:58:08] Rangers was one of Stein's favorites too.

[01:58:10] Uh, he talks about all the time.

[01:58:12] Yeah.

[01:58:13] Well, that one out.

[01:58:14] Yep.

[01:58:15] And I, you know, that was one of the ones where I was like, I don't know if it's enough, uh,

[01:58:19] until I got to the final painting.

[01:58:21] It was like, yeah, but it is, it proves itself.

[01:58:23] You know, it really is.

[01:58:24] But again, you know, as a pencil sketch, you're going.

[01:58:28] Yeah.

[01:58:29] Yeah.

[01:58:29] It's just a brain on an empty background, you know, but the brain, honestly, I, you know,

[01:58:35] we talk about graveyard ghouls being the goriest.

[01:58:38] Just honestly, I would say it's a tie between graveyard ghouls and brain juice because brain

[01:58:42] juice is just a brain.

[01:58:44] Like it is, uh, it is no shit, no nonsense, a brain, uh, with juice being poured on it.

[01:58:51] And it's, oh, it's, I, I would be disgusted if I wasn't so intrigued.

[01:58:57] And I talked about this before when, you know, when goosebumps died off and I was looking for

[01:59:03] extra work, there's a lot of, uh, medical advertisement, uh, medical advertisers who are

[01:59:10] in the New Jersey area.

[01:59:12] And I got a chance to do some medical illustrations and the fact that I could paint ooze and goo

[01:59:20] and, and, you know, drippy stuff was the thing that got me the jobs that were a thousand percent.

[01:59:29] So if you could paint, uh, you know, you can paint monster blood, you can, you can get

[01:59:35] yourself a job, uh, doing some medical illustration.

[01:59:39] Yeah, definitely.

[01:59:40] Uh, Nick, what do you got for number three?

[01:59:44] Well, I'll keep this short and sweet.

[01:59:45] Cause it's the same one Bjorn had.

[01:59:49] I mean, I might as well have to say that.

[01:59:52] I mean, look at this.

[01:59:54] Yeah.

[01:59:55] We'll cover them all the time.

[01:59:56] I mean, yeah.

[01:59:58] I mean, this is my favorite series 2000 cover.

[02:00:01] I mean, there's just, there's so much going on here and so much detail.

[02:00:06] I mean, I'll even to the, to the color background again, you got like, like that sunset color

[02:00:10] and those trees, uh, that just perfectly accent, like the foreground of this whole cemetery

[02:00:17] and these, well, ghouls, cause you know, not zombies, but, um, but yeah, again, like Bjorn

[02:00:24] said, the fact that the texture on there and you can, you almost can like kind of feel because

[02:00:29] of the way the art's done, how these pop.

[02:00:31] And it's kind of, it kind of makes you cringe a little bit with your fingers when you do that.

[02:00:35] Um, but I mean, it's, it's just so good.

[02:00:39] And I like that the fact that they did, in fact, when they raised these covers, try to

[02:00:44] put as much as the detail you did into the art when you actually touch those.

[02:00:48] And that's what gives you that, like even down to, um, the side of the, uh, the tombstone

[02:00:54] here, like you can feel what almost would be considered, I guess, their version of a book

[02:01:00] cover stone because of all the lumps and everything you put there, they have that in there.

[02:01:04] So they do a really good job with not only just capturing, you know, your art there,

[02:01:12] but obviously your art's what made that pop.

[02:01:14] Yeah.

[02:01:15] There is dangling eyeball.

[02:01:17] I think that honestly, I think that face is great.

[02:01:21] Uh, that face always got me.

[02:01:24] Uh, cause I, again, I like, it makes me think of return to living dead.

[02:01:28] And I love that.

[02:01:30] It's very, it's very, it's very dead because it, and again, it's, it really is the goriest

[02:01:35] cover.

[02:01:36] I mean, you got the, you got like the ripped skin on the fingers here at the bone showing,

[02:01:41] like sort of like the bloody ish knuckles.

[02:01:43] Uh, you got this dude, not only was I hanging out, but he's got like a path of his head is

[02:01:49] missing and he's got like brain juice coming out of his head.

[02:01:53] Um, it's, it's, it's gnarly as hell.

[02:01:58] And I love it because it was just, this is the epitome of what series 2000 was.

[02:02:05] It was ramping everything up, um, in terms of the, the writing and the cover art.

[02:02:11] And, uh, it, it just made this series so much more.

[02:02:13] I gotta tell you right now, if I wasn't confined to just 10, I probably would have put way more

[02:02:19] series 2000 on here on my list.

[02:02:21] Um, the thousand was just phenomenal in terms of cover art, but this one, I will say like,

[02:02:28] I know we talked about it a little bit when you were on here before Tim with invasion of

[02:02:31] the, uh, of the buy squeezers, but that dual cover art was fantastic.

[02:02:36] Like that, like, again, like Isaiah said, I'd have way more series 2000 on here.

[02:02:40] Probably most of not all of them just because, you know, as much as I love the original 62,

[02:02:45] there was that change up where you could ramp up stuff really like open the floodgates, uh,

[02:02:52] for these covers.

[02:02:52] And it just, it makes me wonder, like, wonder what we could have got with some of the original

[02:02:57] 62 if they gave you that same leeway.

[02:02:59] Yeah.

[02:03:00] Yeah.

[02:03:00] Oh yeah.

[02:03:01] True.

[02:03:01] I think it's that thing, you know, where you got through the first 62 and then, you know,

[02:03:08] like you had to wait, you know, it's the anticipation of waiting until we could, you know, ramp

[02:03:14] it up and make it happen.

[02:03:16] So, uh, I don't know if it would have been better if we were already shooting all the

[02:03:20] guns off early on, or if these seem to take on a life of their own, because we've got that

[02:03:28] extra element that we are allowed to add.

[02:03:31] So, right.

[02:03:32] Definitely.

[02:03:33] Well, we're already in the midst of our number two picks.

[02:03:35] Of course, mine was graveyard ghouls.

[02:03:37] Bjorn, what is your number two?

[02:03:40] Well, my honorable mention is of course, well, my honorable mention will be my favorite

[02:03:47] loose bum book, the horror camp jelly jam.

[02:03:50] Love the cover art so much.

[02:03:52] Um, and obviously I know you modeled for this one, Tim, and this was a very famous model

[02:03:57] picture.

[02:03:57] This is probably the one that's been shared the most of you like modeling because you're

[02:04:01] just, you're doing the full expression.

[02:04:02] Exactly.

[02:04:03] I couldn't ask anybody else to do that.

[02:04:06] Yeah.

[02:04:07] Um, but yeah, this is my favorite goose bump story.

[02:04:11] I, I don't know why it is.

[02:04:13] It just is, you know, like it, I mean, look, we're all different, you know, we all have our

[02:04:16] different preferences of what's our favorite.

[02:04:18] Um, and somehow this ticks all the boxes for me.

[02:04:21] It's gross.

[02:04:22] It's eerie at times.

[02:04:24] It's, you know, it's got all those things.

[02:04:25] And I feel like you captured that with just their face.

[02:04:30] Like this, just this part, like you've got all the backgrounds, which is beautiful.

[02:04:33] Like, again, you've got the sunset, you've got the trees, you've got the, the dorms, like,

[02:04:37] you know, the cabins and everything.

[02:04:38] And, um, but there's just something about the face that I don't know.

[02:04:43] Like as a kid, I remember when I saw this one on the shelf from even like this far away,

[02:04:47] you could just see the face.

[02:04:48] Cause it was so like, it it's in your face literally.

[02:04:52] So, um, yeah, honorable mention is that, but my number two.

[02:04:56] I actually think, uh, I actually think that that's on your store website now, isn't it?

[02:05:01] That's one of your.

[02:05:02] Yeah.

[02:05:02] We just added that.

[02:05:04] Yeah.

[02:05:05] That'll be my next purchase.

[02:05:07] I was going to say.

[02:05:09] Yes.

[02:05:10] That's next.

[02:05:10] Um, but my, my number two, this was tricky because number one.

[02:05:17] Yeah.

[02:05:18] I've saved number one because for what, for a lot of reasons, but, uh, number two is the

[02:05:23] book that I saw before any other Goosebump book that got me into it.

[02:05:27] And I already said this how many times on the channel, but this is the, if it wasn't for

[02:05:31] this book, I may have never got into Goosebumps and I've been teasing it the entire time, which

[02:05:38] is number two.

[02:05:40] Uh, when I obviously first got into Goosebumps for the very first time, I was only four.

[02:05:46] I hadn't even turned five yet.

[02:05:47] So I was like very young brain.

[02:05:49] And I remember just, this was the stack of books.

[02:05:51] So there was literally a stack of books.

[02:05:53] Right.

[02:05:54] And that was the one just sitting on top.

[02:05:56] And as my cousin said, I was staring at it like a weirdo for a very, very, very long time.

[02:06:02] And, um, yeah, as Nick's already covered with the colors and everything, it's just something

[02:06:06] about it.

[02:06:07] Less is more like you've just got, obviously 9.1.

[02:06:10] We got to see Slappy in full effect with the back, you know, everything.

[02:06:15] But this one, it's just, you just get that closeup shot and it's very demonic somehow.

[02:06:20] I don't know.

[02:06:20] It's very creepy.

[02:06:21] Very, it's, it's extremely eerie.

[02:06:23] That's the word.

[02:06:25] It's one of the most eerie covers in the Goosebumps universe.

[02:06:27] And obviously, as you were talking, Jalow, like with the colors, the reds just match so

[02:06:32] well, like with the actual cover art itself.

[02:06:36] So there's just something about it to me that's flawless.

[02:06:38] Like this is a flawless Goosebumps book from top to bottom.

[02:06:42] And at the last minute, they decided to tilt that art.

[02:06:45] When I painted it, it's totally vertical, 90 degrees, straight up and down.

[02:06:51] It adds so much though.

[02:06:52] It does.

[02:06:54] Absolutely changed it.

[02:06:55] And I remember when they first, yo, there you go.

[02:06:58] Yeah.

[02:06:58] There you go.

[02:06:59] Something they did fix in the 2000 reprints is that they straightened it out.

[02:07:04] That Nick too.

[02:07:05] Because I like the tilted one, but I also like him just kind of being straight and popping

[02:07:10] up and that sort of thing.

[02:07:11] So I think they both look good, but.

[02:07:15] I don't know if it's the, the fact that it's just, it was the cover we got.

[02:07:19] And that's why it's more nostalgic to me of the tilt.

[02:07:21] Or if it's the fact that like, you kind of think of like Myers in the 78 film, you know,

[02:07:26] with the slight head tilt, you know, there's something just a little creepy and off.

[02:07:29] Yeah.

[02:07:29] That is the easiest way that through, through just motion to, to tell the audience that

[02:07:35] something is off, you know, like a dog, like a doll just slightly, just ever so slightly

[02:07:39] cocking its head.

[02:07:39] That's, that's all the storytelling you need.

[02:07:41] It's great.

[02:07:41] Kind of like, yeah, exactly.

[02:07:42] Like what you did with not living to me too.

[02:07:45] You know, he had that slight head tilt, you know, again, sitting there and it does it,

[02:07:50] it throws it off.

[02:07:51] Yeah.

[02:07:53] Yeah.

[02:07:53] It's just, to me, it's the, it's just a perfect goose bump book cover.

[02:07:57] Like everything about it, like, and the slight tilt, like even you said Nick about how, like

[02:08:01] when they brought out the pop vinyls recently to have made that sloppy one immediately better

[02:08:05] would have just to tilt his head a little bit.

[02:08:07] And I kind of agree.

[02:08:08] You just made that pop vinyls, like if you just tilted that head like that, it would have

[02:08:13] immediately made that so much better.

[02:08:15] Like, I don't know, give him glowing eyes or something, but yeah.

[02:08:19] I mean, look, Tim literally looks at becoming pop vinyls now.

[02:08:23] I mean.

[02:08:23] Crazy, right?

[02:08:25] You know, you are, you know, for years you've seen all those, those pops everywhere and they've

[02:08:31] covered just about everything.

[02:08:32] And people come to me like I'm in control somehow.

[02:08:35] And they're like, oh, why don't you do it?

[02:08:38] And I'm like, first off, it's a long story, but I didn't think they'd ever happen.

[02:08:43] And then again, just like the movie, you start to hear rumblings.

[02:08:47] Oh yeah, they're going to do them.

[02:08:49] I'm like, no, they're not.

[02:08:51] And New York, when I went to New York comic-con this year, that was the first, I had seen them

[02:08:55] on the internet, but that's the first time somebody actually walked up with a couple.

[02:09:01] And the fact that there's multiples is way cool.

[02:09:06] Very cool.

[02:09:06] And the covers are appearing on the new reprints again.

[02:09:10] Oh wow, no shit.

[02:09:11] So unfortunately, Brandon Dorman no longer is doing goosebumps.

[02:09:16] They had to get something else for the reprints now, and they've started using your original

[02:09:22] artwork.

[02:09:23] Egg Monsters from Mars.

[02:09:25] Nice.

[02:09:25] And Girl Cred Monsters.

[02:09:27] Royalties.

[02:09:28] No, that's not how it works.

[02:09:31] And that's not how it works.

[02:09:33] Yeah, well, that's nice to hear because I've always been, you know, in recent years where

[02:09:39] people go, oh, where can I get them?

[02:09:41] It's like, well, sure, you can go, you know, go to the thrift store or go to garage sales.

[02:09:47] But I would always tell them, you know, jump on Amazon and buy the tins because those were

[02:09:53] the only places where you can get the art on new books.

[02:09:57] So that's cool.

[02:09:58] Which they are doing another tin as well that comes out next year.

[02:10:02] Awesome.

[02:10:03] Yep.

[02:10:04] So.

[02:10:05] It's been a while since we had a tin, actually.

[02:10:07] They only, they did that last one.

[02:10:11] It's been like a year.

[02:10:12] Yeah, it's been a while.

[02:10:13] So, yeah.

[02:10:14] So, it'll be the first time we've had them in like three or four years by that point.

[02:10:18] Yeah, Blod the 8 Everyone, Girl, Crime Monster, Camp Nightmare, Goey Worms and Cuckoo Clock.

[02:10:23] That's the five that are going to be in that tin.

[02:10:25] Wow.

[02:10:26] So.

[02:10:27] Tim, what do you got for your number two pick?

[02:10:30] Number two.

[02:10:31] All right.

[02:10:32] We have Revenge of the Invisible Boy.

[02:10:37] Now, the thing that's cool about this is, you know, and I've run into this as well

[02:10:42] because I did a cover of the original Invisible Man years ago.

[02:10:49] And when there's nothing there, it's hard to get the dramatic part.

[02:10:55] And the fact that he used the spray-painted face on the locker on this was just absolute brilliance.

[02:11:03] I don't know if, you know, I don't know if that's part of the story or what.

[02:11:07] But going from 3D to 2D was just very, very, very well done.

[02:11:14] And, again, the color palette is very cool.

[02:11:17] But the dripping paint, the whole thing, just I remember seeing that on the shelf and going,

[02:11:23] ah, I think I wouldn't have got, you know, there's plenty of times where I look at other people's art and go,

[02:11:28] oh, yeah, I might have got there when I saw this one.

[02:11:31] I was like, nah, I would have missed that one.

[02:11:33] That's a real good idea.

[02:11:36] And a shout-out to the Goosebumps Wiki.

[02:11:40] There is a lot of concept art for that one from Brandon Dorman on his page on the Goosebumps Wiki.

[02:11:46] So you can see all the different poses he was trying out, the different effects he was going for.

[02:11:52] And I think that is the best one he landed on.

[02:11:55] But there was so many for that one, like he was testing out.

[02:11:58] He overworked that.

[02:11:59] That was for sure.

[02:11:59] Yeah, I saw that same thing where, you know, there was better than a dozen images for this one book.

[02:12:07] Yeah.

[02:12:09] Jalo, what do you got for number two?

[02:12:10] Your runner-up, so to say.

[02:12:12] Yeah, so my number one.

[02:12:14] My number one is my most, like, biased, nostalgia-driven, like, the one that was very important to me.

[02:12:21] You know, sort of like Bjorn's number two.

[02:12:24] But, so I guess in a way that you could say that my number two is my favorite actual piece.

[02:12:32] Like, strictly just this.

[02:12:33] You know, this is the one that is like, it doesn't have as much of an emotional attachment to me.

[02:12:37] But it's like, it just, it really scratches that itch.

[02:12:40] And for me, it is How to Kill a Monster.

[02:12:43] I think How to Kill a Monster is, in my opinion, it is the most underrated cover in the entire original run.

[02:12:52] While I was writing my video, you know, not to take other people's ideas or take other people's rankings, you know.

[02:12:58] I like to look at other people's rankings before I do my own, just to sort of get, like, you know, I want to know, like, if I have a hot take, I want to know what's a hot take before I say it, you know.

[02:13:07] You know, so, like, I wanted to gauge other people's perspectives.

[02:13:11] And How to Kill a Monster, I noticed, was always in the 50s and 60s.

[02:13:15] It was always so, so low.

[02:13:17] But I really think every single thing about it is flawless.

[02:13:21] I love the shine on everything.

[02:13:23] I love the gradients.

[02:13:25] I love the depth of the background.

[02:13:27] I love the vagueness of the monster.

[02:13:29] I love the texture on just everything.

[02:13:33] It is, like, I mean, video essayists like myself love to throw the word quintessential around.

[02:13:38] But it really just, it is just the perfect Goosebumps cover to me.

[02:13:43] It does every single thing that you need it to do.

[02:13:46] It's goofy.

[02:13:46] It's bright.

[02:13:47] It's wacky.

[02:13:47] It's pink.

[02:13:48] It's, like, it's just great.

[02:13:49] I really do.

[02:13:50] And I love the arms reaching around.

[02:13:53] Just everything about it is just so striking.

[02:13:56] It's great.

[02:13:57] When I remember correctly, you gushed about the full cover in and of itself.

[02:14:01] Not just the art, but the use of colors on the cover, the tagline, the name.

[02:14:06] Yeah, the run.

[02:14:07] Step one, run.

[02:14:08] Step two, run faster.

[02:14:11] The only, the only, the literal only single tagline that's better than that is,

[02:14:16] Welcome to Dead House.

[02:14:17] It will just kill you.

[02:14:19] That's, other than it will just kill you, step one, run.

[02:14:22] And step two, run faster.

[02:14:23] Like, like, you know, you want to make the kids afraid.

[02:14:28] Like, that's, because, I mean, to me, that scaredness is, I've always been a very curious

[02:14:33] person.

[02:14:33] You know, curiosity killed the cat.

[02:14:35] It was the fear of Goosebumps that got me into it.

[02:14:38] You know, it was like, ooh, like, that's so scary.

[02:14:40] I don't even want to, like, get near it as a kid.

[02:14:42] And then, like, you would get closer.

[02:14:43] And then that curiosity is what pulls you in.

[02:14:45] And how to kill a monster just does it.

[02:14:47] It just does it for me.

[02:14:47] You know, I like the ceiling fan in there too.

[02:14:51] Yeah.

[02:14:53] The door, like, it's hard to see, but I love it.

[02:14:56] Everything in the background.

[02:14:57] There's like, you can see the drawers and the, the, this like big dresser with the mirror

[02:15:01] and the baseball cap.

[02:15:02] Like, there's so much stuff in the back.

[02:15:03] Like, I call you a background artist all the time.

[02:15:05] And so, so little of the composition, like, you, you creak open the door.

[02:15:11] So little of the composition is the background, but you squeeze so much in there, especially

[02:15:15] because of the forced perspective, the perspective of like shifting, like as you go up the door,

[02:15:20] it widens, you know?

[02:15:22] And so like, you see more of the room and it, it's just opens up in a great way.

[02:15:26] It's like, it's great visual storytelling.

[02:15:28] It's, it's just great.

[02:15:29] Like your eye just wanders around the image.

[02:15:31] It's, it's wonderful.

[02:15:32] It's a great visual experience.

[02:15:34] Like the opposite of stay out of the basement where like, instead of seeing nothing, you

[02:15:38] can see everything.

[02:15:39] Yeah.

[02:15:39] Yeah.

[02:15:41] Cause that's, that's what's scary is.

[02:15:42] That is not like, Ooh, like, it's not like, what's the dad's secret lab in the basement?

[02:15:45] It's not that it's, that's a regular room.

[02:15:48] That's my room and something's in there.

[02:15:50] That is what the like fear is from.

[02:15:52] And so like actually getting to see the room is it just hammers it all home.

[02:15:55] It's great.

[02:15:56] It's wonderful.

[02:15:57] Exactly.

[02:15:57] I, I totally agree.

[02:16:00] Nick, what do you got for number two?

[02:16:04] Oh, going back to original 62 and going back to the choice of color is also why this is

[02:16:11] one of my favorites.

[02:16:12] The werewolf of fever swamp.

[02:16:14] Yes.

[02:16:15] Um, everything about this cover.

[02:16:18] I mean, even the color choices they chose for your art really compliment it in such a

[02:16:25] way that it's just eye catching.

[02:16:27] And obviously like, you know, I love the wolf.

[02:16:30] I mean, that was a super realistic wolf, but I mean, like, I like the clothes that are just

[02:16:34] laying there.

[02:16:35] The fact that like the swamp is actually green.

[02:16:37] Uh, but you got that, uh, like we were talking about kind of like that goose bumps green, that

[02:16:42] neon green kind of swamp there.

[02:16:44] But again, the moon, again, I'm a sucker for the moon.

[02:16:47] And apparently didn't even realize until this video, but, uh, everything about this is just

[02:16:52] phenomenal.

[02:16:53] Um, I, I love the color palette that was used.

[02:16:57] Um, but even the fact that like you have, uh, like the shading around the moon, that's

[02:17:02] a different color than the actual color of the sky and the trees, like, like aiming at

[02:17:06] all details.

[02:17:07] Yeah.

[02:17:08] Just little details.

[02:17:10] Um, that again, as a kid, you kind of miss these things, but like we were talking about

[02:17:13] the, as you go into adulthood and you start looking at these covers more, uh, and appreciating

[02:17:18] them more for the detail that was put in, uh, you start looking at little things, you know,

[02:17:23] one thing I will say, I don't know why it's not in here.

[02:17:26] It was a missed opportunity.

[02:17:28] Where's this red converse over here.

[02:17:32] Got a shirt, but no converse sneakers.

[02:17:36] Who wears their shoes to the swamp?

[02:17:37] I mean, he's going there to wolf out.

[02:17:39] Hey, who knows?

[02:17:42] Well, if you're going to go there to change, why bring a hat and a shirt?

[02:17:44] Well, one thing they, I just go naked.

[02:17:47] I hope I'm not misremembering, but I think they gave the werewolf fever swamp in the

[02:17:52] goosebumps movie converse sneakers.

[02:17:54] He did.

[02:17:55] He did.

[02:17:56] His feet ripped through them, but he's still wearing them.

[02:17:59] Uh, which was really cool.

[02:18:00] I wonder if that was a deliberate, uh,

[02:18:03] Oh, surely, surely.

[02:18:04] I would hope so.

[02:18:06] It would have to be.

[02:18:07] That's such a staple of the visual language of the series.

[02:18:10] Yes, definitely.

[02:18:12] Converse sneakers and checkerboard tile flooring.

[02:18:15] Yep.

[02:18:16] Gotta have.

[02:18:16] Gotta have.

[02:18:18] Well, it's time to move on to our number one picks.

[02:18:21] The best goosebumps covers for each of us.

[02:18:24] And we already mentioned this one, so I'll keep it short and sweet, but I will love Headless

[02:18:29] Halloween.

[02:18:31] Love, love, love this one.

[02:18:32] This one, I swear I would put a 27 by 40 poster of this one in my room, like right over there.

[02:18:40] I put it right over there.

[02:18:42] Um, I love the use of blue in the sky, and this is probably the best use of the moon for me, because it's so large.

[02:18:50] And it's like the essential backing lighting source here.

[02:18:54] The composition is great.

[02:18:56] I love the green glow around the mask, uh, and on the shirt here.

[02:19:00] The orange of the pumpkin just pops.

[02:19:03] I love the mask and, uh, like the, just the headless body.

[02:19:08] It almost looks like, I don't know, it almost kind of looks like he's hiding his head in his shirt.

[02:19:13] Uh, but you also can't like see anything in there, so it's very mysterious.

[02:19:18] This is like the quintessential Halloween one for me.

[02:19:21] He's holding his head.

[02:19:22] He's holding his head, yeah, exactly.

[02:19:24] So, um, I won't go any further.

[02:19:27] We already, uh, went into this one, but this is my number one pick.

[02:19:31] I love it so much.

[02:19:32] Best Series 2000 cover, best Goosebumps cover, uh, for me personally.

[02:19:37] So that is my number one pick.

[02:19:39] Yeah.

[02:19:40] Yorn?

[02:19:41] Well, my number one is of course, go eat worms.

[02:19:45] I just love maths and there's plenty of times tables on there.

[02:19:52] I thought you were going to blow chicken.

[02:19:54] That's what I was going to do.

[02:19:57] I was hoping for chicken, chicken earlier.

[02:19:59] I was disappointed.

[02:20:02] What's the rising one?

[02:20:03] Chicken on their list.

[02:20:05] Um, no, my number one is actually something a little different.

[02:20:11] That, uh, I don't know if any of you have got it as your number one.

[02:20:15] My number one is actually, you're ready for this one.

[02:20:20] Oh my gosh.

[02:20:21] You got me on pins and needles, dude.

[02:20:25] Oh, yeah.

[02:20:26] Oh, yeah.

[02:20:27] That's a good one.

[02:20:28] Oh, cause I look at what you've got on there.

[02:20:34] I mean, think about it.

[02:20:36] And I had one question for Tim.

[02:20:37] Is this meant to be the headless Halloween guy or is this ghost?

[02:20:43] That's the ghost speech.

[02:20:45] Yeah.

[02:20:46] That's ghost speech.

[02:20:47] It was before.

[02:20:48] Yeah.

[02:20:48] That was before the 2000 series.

[02:20:50] So he didn't exist yet.

[02:20:53] Got it.

[02:20:53] Okay.

[02:20:54] Okay.

[02:20:54] So he's holding the, the, the shrunken head.

[02:20:58] You got the mummy and you've got RL Stein in your star.

[02:21:05] Here he is.

[02:21:05] Well, yeah.

[02:21:06] You got Slappy.

[02:21:09] You got how to kill a monster hand.

[02:21:11] The bad hair day.

[02:21:13] Yeah.

[02:21:13] It's like this, to me, this cover is perfect because they're all there.

[02:21:18] Or at least most of the iconic ones are there.

[02:21:21] You know what I mean?

[02:21:21] The only one I maybe is missing is the haunted mask, Nick.

[02:21:25] Um,

[02:21:25] I was going to say.

[02:21:26] No.

[02:21:27] Brandon Dorman would go on to do.

[02:21:30] Yeah.

[02:21:31] There you go.

[02:21:33] And Brandon went on to do his version, but this to me is perfect.

[02:21:38] Cause you got even curly there.

[02:21:40] You know what I mean?

[02:21:41] Like it's a perfect one.

[02:21:42] I don't know.

[02:21:43] It's the definitive to me.

[02:21:45] Cause you got all the monsters and you've got Stein there.

[02:21:47] Sitting at his computer, like writing the next book, whatever it may be.

[02:21:52] Really is the catch all.

[02:21:53] It's the big hurrah.

[02:21:54] Like.

[02:21:55] Yeah.

[02:21:56] You know, so I totally, I totally respect that number one pick.

[02:22:00] Yeah.

[02:22:01] It's like the quick, that is probably the most quintessential.

[02:22:04] That's the word for gay folks.

[02:22:07] That's probably the most quintessential goosebumps art right there.

[02:22:10] Cause it encapsulates all the goosebumps characters or.

[02:22:14] A little bit iconic once.

[02:22:16] Definitely.

[02:22:16] Definitely.

[02:22:17] The, uh, uh, the inside to the, uh, soundtrack to the movie also has a good collection of,

[02:22:25] uh, the goosebumps characters, the double page, the double, double split.

[02:22:30] Mm.

[02:22:30] Plus that's big.

[02:22:32] Yeah.

[02:22:32] Putting in the movie theater.

[02:22:34] Yep.

[02:22:35] Yeah.

[02:22:35] Yep.

[02:22:35] So good.

[02:22:37] Such a good one.

[02:22:38] Tim, what's your number one pick?

[02:22:39] We talked about this earlier, but just because it is as horrific as it comes.

[02:22:46] Frankenstein's.

[02:22:46] Frankenstein's dog.

[02:22:47] Yes.

[02:22:49] Yes.

[02:22:49] My number one pick.

[02:22:51] Just because it has all of it.

[02:22:53] It's, it is a little funny, but it's mostly terrible.

[02:22:56] And we've all had known somebody or we've owned this dog.

[02:23:02] You know, they start out as cute little puppies.

[02:23:05] And by the time they're, they're ready to go, their teeth are gnarled out of their head.

[02:23:09] They smell, they've got open sores on them.

[02:23:13] I had a dog.

[02:23:14] His name was George and George was a mess.

[02:23:17] He was a mess.

[02:23:18] He was so disgusting.

[02:23:23] Awesome.

[02:23:24] Uh, Joe, that must be great for you.

[02:23:26] Yeah.

[02:23:27] Yeah.

[02:23:27] Yeah.

[02:23:27] That was, that's just, that's great to hear for me.

[02:23:29] I feel vindicated.

[02:23:30] My, my pick.

[02:23:32] Yep.

[02:23:32] And what's your number one pick?

[02:23:34] Um, my number one pick I've, I've got right here.

[02:23:41] Uh, I think everyone out there, you know, everyone out there has got a special place

[02:23:46] for like the one that like really hooked them, you know, like the, the one that scared

[02:23:52] you as a kid will never not scare you a little bit, you know, like that first one.

[02:23:58] And for me, that was the curse of camp cold.

[02:24:00] Like I, it's, it's the only book that I, I vividly remember every aspect of the story.

[02:24:07] It's the only one that I could just instantly tell you the main character's name.

[02:24:09] It's the only one that I could vividly tell you the events of the story because it, it

[02:24:14] is ingrained in my psyche.

[02:24:16] And the only reason that I ever even became a fan of goosebumps or, you know, the only reason

[02:24:21] I was really pushed so much into horror is because I picked up curse of camp cold lake

[02:24:26] from this class.

[02:24:27] It's book fair and, you know, first grade or whatever it was, but yeah.

[02:24:32] So thank you, Tim, for helping me on my artistic journey with this, with this piece and every

[02:24:37] other one.

[02:24:39] And Nick, what do you got?

[02:24:42] I feel like I know what it is, but what do you got?

[02:24:44] I think we all know because it goes right back to what the cello was saying.

[02:24:49] Um, the one that got me hooked haunted mask, like nothing beats this for me.

[02:24:55] Like the arts everywhere.

[02:24:57] And that's totally fine.

[02:24:57] Cause I buy everything that this art is on.

[02:25:01] Um, to me, when I saw that on scholastic bookshelf, like for real, I was like, Oh my God, what is

[02:25:07] this?

[02:25:07] I was like, I need, I need to look at this.

[02:25:09] And when I saw it was a Halloween story.

[02:25:12] Cause I'm very big into Halloween.

[02:25:13] Always have been.

[02:25:14] Um, so when I saw it was a Halloween story, I love the love, love the mask, uh, design that

[02:25:21] you did for this.

[02:25:22] I mean, it's, it's really cool how she's pulling it on, but it's coming alive as it gets closer.

[02:25:29] Um, but it's so simple.

[02:25:32] And again, it's, it's one of those ones that like, you don't have to do, um, like an exorbit

[02:25:37] background piece for this.

[02:25:39] Like this itself stands out on its own.

[02:25:42] Uh, it, it very much goes into kind of like what we were discussing with Brandon Dorman's

[02:25:47] art where it's very character focused and that by design just intrigues you more because

[02:25:55] now you're wondering more about what the story is.

[02:25:57] Like, who's this girl?

[02:25:59] Why does she have this mask?

[02:26:00] Why is that mask alive?

[02:26:01] Like what is happening here?

[02:26:02] Like it really drew me in and started me on my, uh, goosebumps horror journey.

[02:26:09] Uh, now don't get me wrong.

[02:26:10] I was watching things like child's play and stuff when I was six years old.

[02:26:14] Uh, you know, cause this was a different era kids.

[02:26:16] Okay.

[02:26:17] So, you know, my mom and my grandparents didn't care.

[02:26:20] Um, so a little different.

[02:26:23] Uh, so this was mild compared to what I was used to, but this story captivated me.

[02:26:29] Um, so really it was a double hitter for me.

[02:26:31] I think another thing is that it perfectly plays off of like, as every great goosebumps

[02:26:37] book does, I think it really plays off of like the childlike fear, you know, like there's

[02:26:41] this childlike wonder that these books have, but it's also, it's playing off of these childlike

[02:26:45] fears.

[02:26:45] And I literally, because of this book could not wear a mask for Halloween.

[02:26:50] If, if there was, if there was something, if I wanted it to be something that had to

[02:26:53] have a mask, I would paint my face because I simply, like, I was so petrified that it

[02:26:58] would, it would stick to my face.

[02:26:59] And, and this, this, that cover as well is what got me into like the Halloween three,

[02:27:05] the season of the witch, that kind of stuff.

[02:27:07] Like, I don't know.

[02:27:08] Masks are a very fun, very creepy thing.

[02:27:11] And it was so, it plays off of a child's fears in just every, every way that it should.

[02:27:16] Going on, uh, going back to how RL Stein says he came up with the idea.

[02:27:20] His son, Matt got a, um, Frankenstein mask stuck on his face.

[02:27:23] And instead of helping him, he ran to his notepad and wrote the idea down.

[02:27:29] Oh, that'd be a good book.

[02:27:30] Oh, sounds exactly something like Stein would say too.

[02:27:33] Hey, but then we, I think it's really funny.

[02:27:35] And, uh, actually didn't your, did you say it was your niece last time you were on here

[02:27:40] who posed for that?

[02:27:42] Yep.

[02:27:42] So yeah, just imagine going around though, saying that's me on that cover.

[02:27:48] I can take it a step farther.

[02:27:50] So that's Jesse.

[02:27:53] Jesse is a doctor.

[02:27:55] Jesse has, uh, four kids of her own, but she will, if you go into her office, she will

[02:28:01] tell you when she's examining you that that is her on that goosebumps cover.

[02:28:07] Oh, and I remember you said that she thought she was going to like appear on a cover and

[02:28:12] then she found her face was being covered by a mask.

[02:28:15] Absolutely.

[02:28:16] Absolutely.

[02:28:18] Oh man.

[02:28:18] That's a great story.

[02:28:24] Always makes me laugh.

[02:28:25] But, uh, wow.

[02:28:26] That's, that's the end of our lists.

[02:28:28] And I mean, like I said, you know, we were going into this blind.

[02:28:32] We didn't know what each of us had.

[02:28:34] And, uh, I feel like there was a lot of, uh, twists and turns as a very appropriate for

[02:28:39] goosebumps down the line.

[02:28:40] But, uh, let me say one thing too.

[02:28:43] I coming into this, I was a little leery about, you know, like this is all, this is all beyond

[02:28:50] cool that you guys appreciate what I do and appreciate the art.

[02:28:56] But it's a little weird to sit here and have smoke blown up your ass for almost two hours now.

[02:29:04] And I thought it would be a lot more uncomfortable.

[02:29:08] And it wasn't because you guys do pay attention to the details that are, uh, that are in the art itself.

[02:29:16] And it's not just a, uh, it's not just a throw off of the, everybody pulled up.

[02:29:21] I didn't expect a lot of the, the, the covers that you guys pulled, uh, some deep pulls and the reasons that you pulled them were also, you know, things that either were intentional or I didn't think of it that way.

[02:29:37] And it gives me a new way of looking at the art.

[02:29:40] So, um, uh, I, I appreciate all of this.

[02:29:44] It was very cool.

[02:29:44] And again, if there's any takeaway from this one tonight, it's that, you know, we, again, we could blow smoke Tim's up, up Tim's ass if we wanted to.

[02:29:54] But at the same time, we also wanted to give spotlight to the other goosebumps artists who work tirelessly on these books.

[02:30:01] And again, please, please, please to anyone watching or listening, please go check out all the other goosebumps.

[02:30:07] Goosebumps artists, uh, Craig White, Mark Nagata, Brandon Dorman, Robert Ball, who's doing the new ones currently.

[02:30:13] Those guys do amazing work, not just goosebumps, but even their goosebumps art is phenomenal.

[02:30:18] Go check them out.

[02:30:19] They really deserve the support.

[02:30:21] Follow them on social media, uh, because, you know, those guys deserve support and, uh, they're really talented people just like Tim.

[02:30:28] And, uh, absolutely 100%.

[02:30:31] And, uh, Tim, I mean, given all your, your praise to Brandon Dorman and honestly, uh, hearing you,

[02:30:37] praise him like that, it has opened up my eyes a little bit and, uh, really become a lot more accustomed to his art because his art is great.

[02:30:45] But, uh, again, you know, looking at it through a different lens, um, is a very important thing.

[02:30:50] So, um, it goes both ways 100%.

[02:30:54] But, uh, yeah, so it was a great discussion and, uh, you know, we'll always keep talking about goosebumps art.

[02:31:00] This was a hard list to put together because there's so many wonderful art pieces.

[02:31:04] Yeah.

[02:31:04] Okay.

[02:31:04] We got to do the reverse.

[02:31:06] Yeah.

[02:31:07] Lois had the worst, the worst.

[02:31:09] Gotta re-invite you for that.

[02:31:11] See, I can live, I can live through what you think.

[02:31:14] Yeah.

[02:31:14] That's way more comfortable.

[02:31:16] We'll listen at another time.

[02:31:19] And we, and nobody, we're not going to include anybody else in the list.

[02:31:24] It's only me.

[02:31:24] Nope.

[02:31:25] It's just going to be Tim.

[02:31:27] Wait, it's unfair.

[02:31:28] They're not sitting here.

[02:31:29] We can't take anybody else down, but me.

[02:31:32] Yep.

[02:31:32] Oh yeah.

[02:31:33] We could do that.

[02:31:34] Oh, I'd be down.

[02:31:35] You chicken chicken.

[02:31:36] We're going to add that to our list of, uh, our list of topics.

[02:31:40] We have to do that at some point.

[02:31:42] And, uh, by all means we'll invite them.

[02:31:43] But the title of that episode has to be the roast of Tim Jacobus.

[02:31:50] Well, as, uh, you know, as I'm probably going to name this episode,

[02:31:54] we completely judged books by their covers tonight.

[02:31:59] That is going to do it for tonight's episode.

[02:32:01] The goosebumps crew podcast.

[02:32:03] I want to sincerely thank, uh, Tim Jacobus and Jalimov,

[02:32:07] both of you guys for joining us and giving us your insight.

[02:32:10] Wonderful time.

[02:32:11] And as always with you, Tim, uh, if you want to go ahead and plug your,

[02:32:14] your website and, uh, if you're doing any conventions coming up for the

[02:32:17] new year.

[02:32:18] Uh, what's nice is a little time off.

[02:32:20] Uh, first one isn't until the beginning of February.

[02:32:22] That'll be mega con in Orlando, Florida.

[02:32:26] Uh, there'll be some other dates after that.

[02:32:28] I'll, I'll start to post them.

[02:32:30] Uh, March, the beginning of March is, um, Emerald city in, on, in Portland,

[02:32:37] uh, Seattle.

[02:32:38] So those are the first two of the year and, uh, there'll be a bunch after that.

[02:32:43] Um, and, uh, Jacobus studios.com.

[02:32:46] Uh, we've got four new posters, uh, in the rack and, uh, yeah, again,

[02:32:53] appreciate all the support from you guys, especially you guys have been around

[02:32:57] for a long time.

[02:32:59] Uh, we've known each other since you were kids writing me letters.

[02:33:03] So, uh, uh, the fact that, uh, this, this still goes on is, uh, is very

[02:33:09] flattery and very cool.

[02:33:10] Absolutely.

[02:33:11] And like I said, it's always, uh, always a treat to have you on and, uh, just

[02:33:15] talk some goosebumps and into the process and all that.

[02:33:18] So 100% we are always invited back.

[02:33:21] Uh, and yeah, Jacobus studios.com.

[02:33:24] Of course, I'll leave a link in the description below, uh, make good Christmas

[02:33:28] presents.

[02:33:28] Christmas is coming up.

[02:33:29] So, uh, maybe get a few and, uh, gift them to a goosebumps fan.

[02:33:33] And you may know part of that is goes to a donation that Tim does.

[02:33:38] So.

[02:33:39] Absolutely.

[02:33:39] Yep.

[02:33:39] There's a, there's a bunch of bags upstairs.

[02:33:42] They came, uh, yesterday.

[02:33:43] They go over on Saturday.

[02:33:44] So we got another truck full of stuff that's getting ready to go over.

[02:33:48] So again, that doesn't happen without all you guys.

[02:33:51] Well, you can make a, someone's Christmas for someone, you know, a

[02:33:55] goosebumps fan and for, uh, helping someone who's in need.

[02:33:58] It's a very, uh, it's a very good donation that you are making.

[02:34:03] Getting something great out of it.

[02:34:05] And, uh, Jalimoth, thank you very much for joining us.

[02:34:08] And, uh, where can our audience find you?

[02:34:11] Uh, you can find me on jalamoth.com or, uh, youtube.com slash Jalimoth.

[02:34:15] That is where I post a majority of my stuff.

[02:34:17] Uh, I don't really talk about goosebumps very often, but I loved talking about it.

[02:34:22] Uh, and I probably will again, but honestly, uh, if you want to support the

[02:34:25] community and support Tim and support charity, you can go to Jacobus studios.com.

[02:34:29] This is one of my prized possessions.

[02:34:31] This is, this is just the, I just love looking at it all day.

[02:34:35] And so, um, do something nice for yourself and go check the website out.

[02:34:39] So, yep.

[02:34:39] And, uh, I'll of course leave the links to, uh, Jalimoth's, uh, Instagram and

[02:34:43] YouTube channel, as well as his, uh, two-part ranking of the original 62 covers.

[02:34:48] Please check that video out.

[02:34:50] It was awesome.

[02:34:50] It was the reason why we, uh, we reached out to him and brought him on for tonight.

[02:34:54] And, uh, we'd be down to have you on again soon.

[02:34:57] Uh, also you are a honorary Goosebumps crew member.

[02:35:00] And I, oh, thank you.

[02:35:01] It makes me very happy to hear, uh, from Tim himself that he can take, uh, some criticism

[02:35:07] because in my video, you know, in my video, never in a million years, did I make that with

[02:35:11] your eyes in mind, you know?

[02:35:13] So, listen, I, I, I'm my harshest critics and I've never heard every artist.

[02:35:19] Yeah.

[02:35:19] So, you know, anybody, you know, mostly it rolls around in my head all day long.

[02:35:23] And what I have to say about myself and my arm is not very pleasant.

[02:35:28] So, uh, I'm sure you're, uh, you know, again, there's, there's, there's always value in,

[02:35:35] in, in criticism.

[02:35:36] I think the same.

[02:35:37] Yeah.

[02:35:38] Yeah, definitely.

[02:35:39] So check the Tim and Jalim both out, uh, links to their stuff is in the description.

[02:35:44] And of course, as always follow Bjorn and Nick at Goosebumps, Oxyvan and Sean respectively

[02:35:48] and their social medias and their YouTubes.

[02:35:50] If you liked today's episode, make sure you have a like and comment, subscribe to Goosebumps

[02:35:53] crew on YouTube, follow us on your audio platforms and social media.

[02:35:57] All those links are in the description below.

[02:35:59] The description is going to be full of links.

[02:36:00] So make sure you navigate it really well.

[02:36:02] Next week, it's Christmas.

[02:36:04] We are having our big Goosebumps crew Christmas party.

[02:36:08] You guys are going to want to tune in for that because we got tons of special guests

[02:36:11] showing up for that one.

[02:36:12] So make sure you tune in next week.

[02:36:14] But until then, this has been the Goosebumps crew podcast.

[02:36:16] And from all of us here, I want to wish you all to take care, stay safe and have a very

[02:36:21] scary day.