Voice Over (00:08):
Let’s make a comic book, but let’s make it a little bit different. Instead of one person or a team making the whole book, we’re gonna have every panel made by a different cartoonist. We are gonna do one page per episode. So the number of guests is the number of panels on the page. So now you’re probably wondering, what’s this comic book gonna be about? Well, lemme tell you. It’s gonna be about a robot. This robot whose name is blank. What happens next? Nobody knows, but it’s gonna be fun finding out.

Edmund Kearsley (00:48):
Hello. Welcome. Another episode of Let’s Make a Comic book where we make a comic book with a different artist on every single panel. And tonight’s, we’ve got three artists in, um, with different artists on every single panel. Sorry, go <laugh>. Um, so let’s have a, uh, uh, introduction to tonight’s artists. Uh, we’ll start with, I’ve got Mike Mason here. Hello. Hey, Mike. Um, and we’ve got, yep, we’ve got, uh, Zach George here too. Good day. Zach <inaudible>. And we’ve got Tim McKewan holding it down at the bottom square.

(01:40)
Alright, so we are gonna make a, uh, a comic book page with these three guys. So first we’re gonna have a look at, uh, last week’s page. You’re gonna bring that up here? Yep. So you can see we’ve got, uh, Lauren Marshall at the top that, um, she brought in the <laugh>, the eyeballs Chasing Blank back. And then we’ve got Danny Nolan in the second spot, and he’s got the change of tax me thinks it, uh, blanks turned into a kind of torpedo shape and, and Dukes the eyeballs. And then Lee Chalkers unleashed, hell with blanks landed in the dirt up to his knees, and there’s a giant, uh, eyeball winged eyeball army bearing down on the, the, uh, stuck in the dirt blanks. It’s gonna be fun for whoever goes first as to follow that one up. So what we’ll do now is we’ll pick the order of who goes first, and we’ll have, sis has the, the three core things to choose from. And we’ll get a remove

Shane ‘Sizzle’ Syddall (02:59):
Myself.

Edmund Kearsley (03:00):
We’ll get Mike to choose first.

Shane ‘Sizzle’ Syddall (03:02):
Cool. I’ll bring myself up and show everyone what we’re talking about. Okay. We have three items that you gotta choose from. We have the, uh, tin turtle van. We have Optimist crimes, um, trailer. There we go. Covering the symbol there. And the Wonder Woman Mobile. You can see Wonder Woman written on the side there. I, yeah. Yes. <laugh>. So choose one of them. Mike.

Mike Nason (03:40):
Uh, optimist, prime’s, uh, vehicle attachment.

Shane ‘Sizzle’ Syddall (03:45):
Good choice. You my friend. I’m going second. I’m two.

Mike Nason (03:50):
Woohoo. Yay. All right.

Edmund Kearsley (03:53):
Okay. Now we’ll get Zach to choose one.

Shane ‘Sizzle’ Syddall (03:56):
Uh, I’ll stick with Wonder Woman. Oh. Could have predicted that. And where have I put the number? There we are. Oh, your last Zach.

Edmund Kearsley (04:07):
Number three. Okay. So Tim’s first, and now we get, um, if you put me to full screen,

Shane ‘Sizzle’ Syddall (04:14):
I’ll just show that you, there is one for Tim.

Edmund Kearsley (04:18):
Excellent.

Shane ‘Sizzle’ Syddall (04:21):
And then, and Doug’s trying to get in on the action <laugh>.

Edmund Kearsley (04:27):
Right. Tim, you get to choose from the hand of choosing, and I’ll just bring up the, the, the layouts that we’ll be picking from today. So you get to choose one, two, or three.

Shane ‘Sizzle’ Syddall (04:40):
Cool. Uh, I’ll go for number two. Thanks.

Edmund Kearsley (04:43):
Number two is number one. One,

Shane ‘Sizzle’ Syddall (04:49):
Which

Edmund Kearsley (04:49):
Is the three. Oh, the three down.

Shane ‘Sizzle’ Syddall (04:52):
Nice. Cool.

Edmund Kearsley (04:56):
I’ll bring that up. So

Shane ‘Sizzle’ Syddall (04:57):
I should start now? Yeah.

Edmund Kearsley (04:59):
Yep. Start drawing. Yeah. Okay. Seven.

Shane ‘Sizzle’ Syddall (05:02):
You can think of something. Go for life. Alright.

Edmund Kearsley (05:05):
And s

Shane ‘Sizzle’ Syddall (05:06):
I’ll start reading out comments. No. Oh, sorry.

Edmund Kearsley (05:09):
Yeah, yeah. Read the comments. Yeah.

Shane ‘Sizzle’ Syddall (05:11):
Yeah, sure. Okay. So Nick May got in here about half an hour early and said, let’s see a page emerge from the blankness. And then Peter Lane came in just before we started with it. Let’s go. And, um, then he said, oh, wow, what a lineup. Once he saw who was on the screen. And then three legendary individuals, and he went, oh, hang on. Sorry. Four. Oh, now five. So he counted me and me and Ed in eventually. And Ed has disappeared, so, yes. Um, well, I’ll just note take over for, I don’t know where he is going. Um, Mike, tell us a little about yourself.

Mike Nason (05:55):
All right. Um,

Shane ‘Sizzle’ Syddall (05:57):
Well, uh, Tim grows away. I’ve,

Mike Nason (06:00):
Yeah, I’ve been in and around the, the comic scene since the early nineties. Um, I’ve done bits and pieces here and there. Um, on average I’ve gotten maybe one thing published per year, uh, with a few years missing only very small bits and pieces, you know, two pages, four pages. Um, oh, okay. The, the most, uh, amount that I did was 27 pages of inks on the third issue of Vigil, uh, when that was being published by, um, um, look like. Um, other than that, uh, I’ve worked with, uh, let’s see, um, Dylan on a few things in the early nineties. Um, oh, cool. Uh, actually my first published thing was, uh, two pages, um, in Darndale and Oh, very cool. Um, let me see, what else have we done? Uh, right at the moment I’m assisting, uh, Peter Lane, uh, with a few things for, um, uh, for Rie.

Shane ‘Sizzle’ Syddall (07:08):
Oh,

Mike Nason (07:08):
Cool. Um, you know, just touching up some covers. Um, I’m gonna be doing an an ad, uh, for Rie books. Um, and then I’ve spoken briefly with Gary, so maybe there’ll be some things happening there as well.

Shane ‘Sizzle’ Syddall (07:20):
Oh, sweet bit a re word. Lovely.

Mike Nason (07:23):
Yeah. Cool,

Shane ‘Sizzle’ Syddall (07:24):
Cool. Well, we’ve just had Denny Nanny, Denny Nolan. Sorry, Danny <laugh>. <laugh>, yeah. I just combined his names, his surname and first name. Um, he’s gone, Lee made it hard for you guys, and I think, I think he’s right with that whole apocalypse and stuck in the mud to his knees. <laugh>. I, I wasn’t looking forward to being first <laugh>, so, um, I guess we’ll, pester Zach now.

Isaac George (07:56):
What would you like to know? Tell us about your comic books that you make. Um, currently I’m still working on, bro, one issue four of the main series and issue two of the Prelude series, uh, at the printer.

Shane ‘Sizzle’ Syddall (08:17):
Oh, cool. Nice

Isaac George (08:17):
Issue five launches on Kickstarter in two weeks. And then I’ve got some Vivian Jones crossover stuff with Sky’s Cabin Library coming up. Okay. And I have another book, but that launches in August. Ooh, secret book. Yeah.

Shane ‘Sizzle’ Syddall (08:45):
<laugh>,

Mike Nason (08:50):
Do you have any, um, sorry to interrupt. Do you have any, uh, examples of, uh, your book that you could show anyone?

Shane ‘Sizzle’ Syddall (09:01):
Oh, proof copy. I’ll, I’ll bring you up so we can see it properly.

Mike Nason (09:04):
Yeah, because I, I’ve just connected your face to the name I didn’t, uh, realise. Yeah. Cool. Great. Nice. Yeah.

Shane ‘Sizzle’ Syddall (09:22):
Red Headed Warrior.

Shane ‘Sizzle’ Syddall (09:24):
Oh, that

Shane ‘Sizzle’ Syddall (09:25):
Excellent. Ad <laugh>.

Edmund Kearsley (09:31):
So you’re gonna be using the, the Grey Cop tonight, Zach?

Shane ‘Sizzle’ Syddall (09:35):
Yep. Excellent. We’ll see if I get that. We’ll, we’ll see if I get That’s right. I forgot to mention to everyone that’s black and white, just in case anyone thought not doing, I always forget something. And this time it was black and white. Lisa, it wasn’t that you are on tonight.

Edmund Kearsley (09:56):
So ask, uh, Mike, what got you into comics and drawing and being an artist and all that stuff?

Mike Nason (10:03):
That’s a really good question. Uh, all I can say is I remember telling my parents when I was six years old that I was gonna become a cartoonist. And, um, nice. So I asked, my mother had a draw and she told me to ask my dad, <laugh> <laugh>. And, uh, yeah, he drew a smiley face, and I think that was about it. Um, uh, but, you know, I’d seen the, the superhero movies, um, Superman and all that kinda stuff in the early eighties. Um, I inherited some, some comic books, um, uh, around that age, uh, I think from the seventies, um, you know, uh, Dracula horror stuff. Um, plenty of Marvel stuff as well. Um, and then, uh, I stumbled across, uh, a Spider-Man, uh, comic book in 1986 when I was living in Norway. And from then on I was hooked into the idea of becoming a comic book artist.

(10:58)
Um, but I had to make it back to Australia, which, um, took about four years. And, uh, I thought Australia had a, uh, industry, you know, ’cause it’s a, you know, huge country and all that kind of stuff. So I had my sister, uh, send me, uh, some Australian comic books. She sent me, uh, an issue of, um, iron Man, which I wasn’t actually very impressed with. But then she sent me also an issue of, um, Southern Squadron number 10 with, uh, Gary Childer’s work. And I thought, wow, Australian comics are better, better than American Comics <laugh>. So, uh, that got me inspired. Um, and then, let me see, it was maybe 2000 and, no, wait, 94, I was, uh, pestering a, uh, comic, uh, shop owner and, uh, showing me, showing him my work. And he got so fed up that he, uh, <laugh> gave me, um, uh, Greg Greg Gates’ number. Um, oh, nice. So I met up with him and through that I met up with Dylan. And, um, yeah, that was kind of how, how it started.

Edmund Kearsley (12:08):
Excellent. Wow. Yeah. Cool. What shop was that?

Mike Nason (12:11):
Uh, that was the late great Ian Eddie’s shop in, uh, um, Ringwood. Wow. Yeah. Um, and, and just to add to that story, uh, David Bird became my brother-in-Law. So for, if anyone knows David Bird from Fox Comics. Yeah. Wow. Bit of a bit of a story there. But yeah, it’s been fun, let’s put it that way. So, yeah, that’s right. I also did a, a, a bunch of stuff with David Bird as well. Um, um, I think he’s just gonna reprint something. It was originally, um, appeared in Tango, maybe number four or five. It was like a four, uh, page, uh, strip. Um, so that’s coming out sometime. But yeah, that’s generally the story.

Shane ‘Sizzle’ Syddall (13:01):
That’s a cool story.

Edmund Kearsley (13:02):
Yeah, I think that’s the coolest one.

Tim McEwen (13:07):
Who’s going second?

Mike Nason (13:09):
Uh, uh, that’s me, Mike.

Tim McEwen (13:11):
Yeah. Did you wanna get started, Mike? ’cause I’ve got enough of a rough here that you can actually get started.

Shane ‘Sizzle’ Syddall (13:15):
Cool. I’ll bring it up

Mike Nason (13:16):
On the screen. Absolutely. No problems.

Tim McEwen (13:19):
So I’ve gone for the underground shot.

Edmund Kearsley (13:23):
That’s clever.

Tim McEwen (13:24):
Oh,

Shane ‘Sizzle’ Syddall (13:24):
Cool.

Tim McEwen (13:26):
Looking at Blake’s head underground and he’s saying, oh, hello, secret underground civilization. So over here on the right is, I haven’t drawn it yet, but these are all gonna be buildings, uh, and tiny little creatures, people, and a little lake with a sailboat. So there’s this tiny little miniaturised civilization under the ground, so. Awesome.

Mike Nason (13:47):
Alright.

Tim McEwen (13:49):
So,

Mike Nason (13:49):
Uh hmm. Okay. You like

Tim McEwen (13:53):
<laugh>

Mike Nason (13:55):
Lots of possibilities. Yes. Yeah. Lot.

Edmund Kearsley (13:58):
Yeah. So, so you could draw the underground civilization or the,

Mike Nason (14:02):
The monster. Yeah, I could reverse it <laugh> and, uh, have my screeches looking up at him. And then, uh, Zach can figure out how to draw those guys or something. <laugh>.

Tim McEwen (14:15):
All right. Oh, well, Zach,

Mike Nason (14:19):
All right, let’s get started.

Tim McEwen (14:20):
Is that the way it normally goes with this thing that, uh, that the, the person who’s doing the, the third panel ends up really confident <laugh> <laugh>. Yeah.

Mike Nason (14:34):
Yeah.

Edmund Kearsley (14:34):
And they, they usually put the, um, the big zinger on the end too, for the, for the next episode as well. For the next,

Shane ‘Sizzle’ Syddall (14:41):
Yeah. For the next episode,

Mike Nason (14:43):
<laugh>.

Shane ‘Sizzle’ Syddall (14:46):
Um, Darren Close has just popped in and he says, hi guys. Good to see you, Mike. Hey, Jack. Hey, Darren. Hey, Darren. Hope you’re doing well.

Edmund Kearsley (15:00):
All right. Well, um, Mike gets started all, let’s, uh, hear Zach’s origin story, have our comic books and art, and why?

Isaac George (15:14):
Um, I just always loved comics. I started Wyn in high school, which I found out that she was 18 years ago. Oh, nice. Which is terrifying. Um, so yeah, that’s actually traumatising to think that’s that long. But, um, yeah, I don’t know. I just always enjoyed comics and then I got sick of trying to figure out how to draw Batman, wonder Woman. ’cause Chance are, I will never get there. So if you just do my own stories. Sweet.

Shane ‘Sizzle’ Syddall (15:53):
Cool.

Tim McEwen (15:56):
You said earlier that you’re, you are working on a second project soon, um, that you’re keeping secret, which is, which is fine. Is it gonna be, um, like a completely different genre to, to Bronwyn? ’cause that’s like, you know, swords and stuff

Isaac George (16:13):
Set in the same universe except it’s set in the 2020s.

Tim McEwen (16:19):
Oh, fantastic idea.

Shane ‘Sizzle’ Syddall (16:20):
Oh, wow. That’s cool.

Isaac George (16:23):
So there’s elements of Bronwyn. Vivian Jones is like a parallel universe, but everyone is like, has a giraffe head. So there’s like a giraffe headed version of Bronwyn out there as well. <laugh> cool. And then, so it’s all connected. I’m kind of taking the Mike Magnolia approach where he bounces between time periods and whatever he wants, but still intertwined. So I think I like that idea of org building.

Tim McEwen (16:55):
That’s a great idea.

Isaac George (16:57):
That model for now.

Shane ‘Sizzle’ Syddall (17:03):
<laugh>, uh, Matthew Madden has come in and he’s like, I reckon Tim can sneak a greener pasture’s reference in there. <laugh>

Tim McEwen (17:11):
Hadn’t even thought of that. Um,

Shane ‘Sizzle’ Syddall (17:13):
<laugh>. Oh, Bronwyn Draught. Nice.

Tim McEwen (17:17):
Oh, you

Shane ‘Sizzle’ Syddall (17:19):
<laugh>. Um, then Facebook user, unfortunately, we dunno their name. Um, awesome. Looking, looking forward to see where these legends take. Poor little blank. Well, so far he’s been taken into an underground civilization. See where he goes from there. See if, um, I’m looking forward to seeing if Zach does a real difficult panel at the end to really stump next <laugh>

Shane ‘Sizzle’ Syddall (17:50):
<laugh>.

Tim McEwen (17:55):
Uh,

Shane ‘Sizzle’ Syddall (17:56):
Do you mind if I, um, sneak a peek at you, um, Tim, at what you’re doing?

Tim McEwen (17:59):
Yeah, absolutely. Go ahead.

Shane ‘Sizzle’ Syddall (18:03):
Okay.

Shane ‘Sizzle’ Syddall (18:04):
Oh, you are already, it’s already on you. Oh, that’s not what I meant to press. Try this one. There we go.

Edmund Kearsley (18:16):
And, uh, speaking of greener pastures,

Shane ‘Sizzle’ Syddall (18:19):
Oh, I’ll bring you up

Tim McEwen (18:21):
On your head.

Edmund Kearsley (18:23):
<laugh>, tell us about the, do it

Shane ‘Sizzle’ Syddall (18:24):
Again, do again.

Tim McEwen (18:27):
Are they from your collection? Like

Edmund Kearsley (18:29):
Yeah. How

Tim McEwen (18:29):
Did you get them recently?

Edmund Kearsley (18:31):
Um, yeah, I got them, uh, a while back from that. Um, I can’t remember what it’s called.

Shane ‘Sizzle’ Syddall (18:40):
Owner Indy?

Edmund Kearsley (18:42):
No, no,

Shane ‘Sizzle’ Syddall (18:43):
Something

Edmund Kearsley (18:44):
Else. It’s, um, that, uh, Nathan, the nice shop in, in Hyatt.

Shane ‘Sizzle’ Syddall (18:49):
Oh.

Edmund Kearsley (18:50):
There’s, uh,

Tim McEwen (18:52):
In which, in which

Edmund Kearsley (18:53):
Suburb? In Hyatt, in Melbourne.

(18:57)
I can’t remember what it’s called. But it had a big, um, indie, it was a, it’s all complicated and I can’t remember, but I, I’ve only had them for a couple years, so I never, uh, got them back in the day because the, the news agents around my area didn’t, uh, ever have them. So they’re over selling out, or, um, they weren’t carrying ’em, but I, I collected bug and stump and platinum grit and stuff like that, but never managed to get there with the greener pastures back in the day. So it was good to get like a, I’m pretty sure I got a full set. Didn’t want hit.

Tim McEwen (19:36):
Whoa,

Shane ‘Sizzle’ Syddall (19:39):
Nice.

Tim McEwen (19:41):
I was just on the phone with Mark Sexton today.

Edmund Kearsley (19:45):
Oh, nice.

Tim McEwen (19:46):
Bug and stump fame.

Edmund Kearsley (19:49):
Yep. Nice. So tell us about the, the Cowman and how that came about. See Steve. Trevor.

Tim McEwen (20:00):
Yeah. Trevor. So, uh, Trevor started life as a, um, as a comic strip in a university newspaper. Oh yeah. Thanks for putting the Kickstarter up. Um, that’s cool. So yeah, that, that was a, a, a university newspaper and they just wanted, you know, some content. And, and Michael, who’s the writer, the co-creator, um, was offered the space in the, in the, um, new South Wales University newspaper. And, um, back then we were pretty young and we didn’t really know too many other people who made comics. So, uh, he contacted me and said, do you wanna collaborate on something? So that’s, that’s where it got its start. And that was in 1990. That was a long time ago. Oh, yeah. Um, and that ran for a year in the paper. But then, uh, you know, he, he graduated and we all got jobs and whatnot. Um, and then a little while later, like a couple of years later, uh, we both kind of at the same time came up with the idea that we should, uh, re started it, but do it from the beginning and, and do it as a, as a comic book. Um, and that’s where the comic that you’ve got your hands comes from. Um, so that, and that was published, uh, we started publishing that in 1994, um, as a fully fledged band. Wow. So, yeah.

Edmund Kearsley (21:25):
You ever gonna reprint the, the newspaper strips?

Tim McEwen (21:29):
Yeah, I reckon we will eventually, but that, that’s pretty low on the, um, pretty low on the priority list of reprints, I think. Um, but you know, we re um, I can’t see why not. There’s only, like, there’s about a dozen episodes. It’s not, it’s not like there’s, there’s a million episodes or anything. So as a reprint it’s really only gonna be a floppy. Um, but, um, but yeah, it’s, it’s interesting ’cause the amount of, um, story that is similar, um, is interesting. You know, the amount of story that’s similar in the strip versus in the comic is similar. Uh, but also the, the part where we start to diverge, uh, is interesting as well. Um, so for people who are that interested, uh, completists like that, um, yeah, it’ll be, um, it’ll be out eventually, but that, I think that’s a few years away.

(22:27)
And I’m actually still reasonably proud of, of some of the work that I did. Then some of it, there was one episode, which was 100%, um, uh, what’s the term? Like a hundred percent hinged on, on a visual joke, which Michael wrote and was actually a pretty funny joke. But, um, I just couldn’t, I couldn’t draw it. I didn’t have the skills at the time to, to draw this thing that was a little bit complex. Actually. It was a, a, a play on the idea that words go in one ear and out the other, you know, that phrase. So, you know, Trevor’s at, at university, supposed supposedly at his lecture, um, and the words are going in one ear and out the other one. ’cause he’s, he’s not paying attention. He’s, I don’t know, do some shenanigans instead. Um, and no one, no one’s ever gotten that joke.

(23:21)
It’s just, I, I, I did it so poorly. Um, but then there are other episodes where like, I feel like my, my ability to, to draw interesting, cartoony sort of characters was already starting to develop pretty well. Um, you can kind of just, you can kind of tell that I’ve, I’ve, I can’t remember that I’ve only just discovered Will Eisner, um, or if I was just really starting to very much get into him. ’cause um, there’s a few like Eisners in there as well. Um, so yeah, a few, um, few things like that would, would actually make it reasonably interesting, I think worth, worth doing.

Shane ‘Sizzle’ Syddall (24:07):
Oh, and we’ve got, um, Nick Ma has come and said, Oasis Comics was my local store.

Tim McEwen (24:12):
Oasis. That’s

Mike Nason (24:13):
It. Oh yeah. Cool.

Shane ‘Sizzle’ Syddall (24:16):
Yeah. Thanks.

Tim McEwen (24:19):
Am I allowed to cheat? I was gonna just ask this question. Am I allowed to cheat and, and have blank, like wink? Can his eyes like shut? Like that? I had a look at the reference and it doesn’t really do that. I can get away.

Edmund Kearsley (24:32):
He can sprout missiles and stuff, so I don’t see like, um, wink

Shane ‘Sizzle’ Syddall (24:36):
<laugh>. That’s right. I forgot about the missiles. <laugh>.

Edmund Kearsley (24:42):
Check in on Mike and uh,

Mike Nason (24:45):
Yeah, yeah, there’s enough there that you can probably figure out a third panel.

Shane ‘Sizzle’ Syddall (24:52):
Oh, cool.

Tim McEwen (24:56):
Very cool.

Shane ‘Sizzle’ Syddall (24:57):
Yeah,

Mike Nason (25:01):
So they’re, um, fish head guys, you know, googly eyes. Yeah, I love it. Yeah. Yeah. Alright, cool.

Shane ‘Sizzle’ Syddall (25:10):
That’s so awesome.

Tim McEwen (25:12):
Comics need more fish head guys, Mike.

Shane ‘Sizzle’ Syddall (25:15):
Yeah,

Mike Nason (25:16):
Definitely.

Edmund Kearsley (25:17):
Thank you. They wearing wearing collared robes or something?

Mike Nason (25:21):
Yeah, something like that. <laugh>.

Shane ‘Sizzle’ Syddall (25:24):
And they, so my screen’s tiny.

Edmund Kearsley (25:29):
Is that, um, and blank’s flying away out of the hole?

Mike Nason (25:32):
Yeah, he’s flying out. So it’ll be, uh, black more or less black in the background. You’ll see the tiny little hole that he’s flying out from and then

Shane ‘Sizzle’ Syddall (25:42):
That, so he’s going back to fight Lee’s monsters?

Mike Nason (25:46):
No, well, he’s just entering the, uh, cabin to, to see what’s going on or, you know, he, to do that little hole. And, um, yeah, you get to decide obviously what happens next.

Tim McEwen (25:59):
Hmm.

Mike Nason (26:02):
So yeah, who knows.

Shane ‘Sizzle’ Syddall (26:06):
Okay. Hopefully I’ve got everyone’s, um, Instagram. Right?

Tim McEwen (26:15):
It looks like it to me.

Edmund Kearsley (26:17):
<laugh>, I, um, the thing was brought up just before, but was, Tim, you’re running a, a Kickstarter who

Tim McEwen (26:34):
I am. So, uh, I was mentioning dates like 1990 and 1994 <laugh>, you know, the last century. Um, but we are relaunching greener pastures with the next issue. Uh, and the next issue is, um, issue eight. So, uh, the Kickstarter is to, um, is to buy issue eight. Um, it follows on directly from issue seven. And if you don’t have the earlier issues, it’s not a big deal because, uh, they’re all available both digitally and physically in the Kickstarter as well. So you can Oh, sweet. Grab the whole lot, um, all at once. Um, so yeah, we, it’s a, it’s Kickstarter to relaunch and, and this year I’m, I’m planning on, um, I’m doing quite a few, uh, quite a few new issues. We’re gonna, we’re gonna do issues eight, nine, and 10 this year. Um, oh wow. Issue eight is actually a, um, a slight reworking of, of the script that was written in 1997 for issue eight.

(27:41)
It was never published. Um, but we’ve reworked it a bit to bring it, um, into line with our current abilities. Um, but issues nine and 10 and 11 are all set in 1997. Uh, and they’re all brand new stories that, uh, I think Michael had in his head. Um, but uh, never, we, we never kind of even got to, to scripting stage for those. Um, so yeah, they’re, they’re all kind of more university age shenanigans, um, for Trevor and his mates, uh, before we, we bring Trevor back into 1990 into, sorry, into the 2020s when he’s no longer a young man, but he’s a middle aged man, so any knew that that read the greener pastures work that was in, um, adventure Illustrated issues one and two. Um, you’ll see that Trevor in those issues, uh, seems to be a lot older, and that’s true. He is. Um, so we’re gonna eventually, uh, get those two stories to meet up. That’s cool. Cool.

Shane ‘Sizzle’ Syddall (28:56):
Let’s go pick on Tim again.

Tim McEwen (29:00):
<laugh>, I’m not going as fast as, as Mike is <laugh>, but we’re getting there. I’m actually not the fastest drawer. Um, and I was saying, I I, I was saying to the guys earlier, uh, everybody, um, and I’m gonna use this as my excuse for why my drawings are no good. Uh, I’m not, I’m not really used to drawing digitally. Um, but for the sake of having, uh, ease of, of vision, um, for the audience, um, I’m doing it. I, I I have worked digitally in the past, um, especially when I’m doing storyboards. ’cause storyboards is a kind of activity. Um, if you’re not doing it digitally, you, you really shoot yourself in the foot. ’cause there’s a lot of repetition, copying and pasting and, um, resizing images. Uh, and none of it has to look really, you know, beautiful. Um, most storyboards are pretty rough.

(29:57)
Um, again, I’ll invoke the name of Mark Sexton from Bug and Stump, uh, fame. Uh, his storyboards are beautiful <laugh>. They all look amazing. Um, but most people’s storyboards are, are usually a lot rougher than that. Um, so that’s usually my extent of, of digital drawing. I do most of my colouring digitally ’cause I’m too afraid to actually put a marker or a, um, watercolours on my original art and then ruin them. Um, I’m always in awe of you, Isaac and, um, your, um, your work with your markers. Um, ’cause it’s all, you know, there’s, there’s no net there, right? Once you put the, the drawing down, that’s it. Once you put the, the tank,

Isaac George (30:40):
You paint yourself out of a box.

Tim McEwen (30:42):
<laugh> you, you what you do. What

Isaac George (30:45):
If you mess up, you paint yourself out of the corner. <laugh>.

Tim McEwen (30:47):
Yeah. <laugh>.

Isaac George (30:50):
Oh, suddenly that’s just a giant boulder. That’s fine.

Tim McEwen (30:53):
Excellent. Yeah. Fair enough. <laugh>.

(31:06)
So, yeah, I’m, I’m a little bit slower, I think, than everyone else. And, um, not at all the, the, the amazing thing. ’cause I, I teach animation students, right? And, and they’re, they’re all working digitally, whether they’re on their iPads or, or in Photoshop or wherever it is that they’re working. They all work digitally. ’cause they’re mostly digital natives. And, um, Mm-Hmm. <affirmative>. So I’m, I’m not much help to them in that regard, but I can teach them, you know, what drawing is about. But, um, oh, where was I heading with that? The, the fact that, that I, that I don’t draw digitally. They, they, um, oh yeah. I, I find that I’m, I’m a I’m an awful lot more, uh, accurate with my drawing. Traditionally, like you, you’d think being on a computer that it, you know, you’d be able to do really accurate lines and everything.

(32:00)
And my lines are terrible. They’re wobbly and they’re, um, not, they’re not the thickness that I want them to be. All these lines are, are the wrong thickness as far as I’m concerned. They’re, they’re not being thick where I want them to be. And, um, and I, I watch people on YouTube who do that thing where they, where they draw a line and then they undo it and they do it again and undo it and do it again. And, you know, it’s like how many times you have to draw it before you get it right. Um, you know, as, as Zach would know, um, you draw it once and hopefully it’s right. ’cause it’s, it’s, there’s no, there’s no undo pretty much. Yeah. It’s a weird thing. ’cause you, you get, you get quite confident that, you know, I’m inking with a brush and I’m just gonna put the line down and it’ll be, it’ll be right. That’s <laugh>. It’s gonna have to be Right. Right.

Isaac George (32:47):
When I started tafe, my drawing teacher noticed. I kept rubbing out. He made me drawing Biro.

Tim McEwen (32:55):
Ah, good training. Did you hate it though,

Isaac George (32:59):
<laugh>? Oh yeah. It was, it’s a good learning curve. Like you, it forces you to adapt and, and like, it’s not meant to be perfect off the bat. Yeah. You have time to learn. But, um, I wanted to kill him the first few weeks.

Shane ‘Sizzle’ Syddall (33:16):
<laugh>,

Mike Nason (33:20):
Was this in high

Tim McEwen (33:20):
School or was this at

Isaac George (33:21):
Tertiary? Uh, this was tafe. So after high school I went to TAFE and did their fine arts and graph design programme.

Mike Nason (33:30):
Yep.

Shane ‘Sizzle’ Syddall (33:34):
Whoa. Okay. It Now I’m gonna go pick on mic again. Ooh. The fish people are coming about.

Edmund Kearsley (33:48):
They look cool.

Shane ‘Sizzle’ Syddall (33:51):
Yeah, they’re very cool. I like the, the lines, just the shape. I know. That’s all I know how to describe it.

Mike Nason (34:00):
Okay. When, um, when they were talking before about, uh, doing digital versus, um, um, traditional, uh, if I’m, if I’m working digitally too long and I go back to traditional, I start looking for the undo button

Edmund Kearsley (34:16):
<laugh> and squeezing the paper to try and shrink it and expand it. Yeah. Yeah. I was gonna say, these guys look like, um, it’s like, like a sixties or seventies adventure cartoon kind of bad guy. Like a Yeah. Johnny Quest or Birdman or something.

Mike Nason (34:39):
Yeah. That, that We’ll go, we’ll go with that. Yeah. That, that sounds good enough. <laugh>. Um, I, I had a character, um, that is actually loosely based on these guys. Um, but when I just saw what Tim was doing, I thought, uh, I can throw this character that I’ve already done kind of in there. And it’s just, it’s a normal looking guy, but he has these heads. Um, and I, I’ve never actually used him for anything. Um, but I just thought, eh, it’s an easy thing to draw.

Shane ‘Sizzle’ Syddall (35:11):
That’s awesome. Bring it in. Oh, that’s right. You can find, I forgot about that,

Edmund Kearsley (35:22):
Mike. You’ve got your brush really big.

Mike Nason (35:25):
Yeah. Because that allows for a really thin as well. So Yeah. That’s cool. Yeah. It, the digital stuff has come far enough now that you can kind of treat it, uh, as if it’s, um, the traditional stuff. And I don’t actually do a whole lot of it, but, um, I, I just kind of form my mind into thinking. Uh, it’s traditional.

Edmund Kearsley (35:55):
I use that, I use that same pen, but I use it a lot smaller.

Mike Nason (36:01):
Yeah. Yeah.

Edmund Kearsley (36:02):
To treat it more as a, um, like a copic market than a, than a dip pen or a brush.

Mike Nason (36:11):
Yeah.

Shane ‘Sizzle’ Syddall (36:15):
I

Isaac George (36:15):
Have no idea what pen I use.

Edmund Kearsley (36:17):
<laugh>. It’s probably that one too. ’cause it’s the,

Isaac George (36:21):
If it’s the default, that’s what I use.

Mike Nason (36:24):
Yeah, yeah,

Edmund Kearsley (36:27):
Yeah. Yeah. I never master the, it depends on brush. So when I started drawing again, um, a couple years ago, the, uh, watching YouTube and stuff, most of the people drawing were using the coping markers, the

Mike Nason (36:50):
Right.

Edmund Kearsley (36:51):
Whatever they’re called. Um, yeah. So I just started with that.

Isaac George (37:01):
Did you dive straight in or did you start with greys and work your way through?

Shane ‘Sizzle’ Syddall (37:06):
I,

Edmund Kearsley (37:08):
I start when I was doing the colouring.

Isaac George (37:10):
Yeah.

Edmund Kearsley (37:11):
Um, yeah, I, I, I got, um, like three grey, uh, like a, a one, a three and a five or something like that. Yeah. I was, um, what’s it the <crosstalk>. That’s

Isaac George (37:26):
How my, that’s how my um, t teacher introduced them to me. ’cause he was like, you don’t need all of them. ’cause by the time they overlap each other, they build on it. It’s actually interesting figuring out how to use them.

Edmund Kearsley (37:44):
Yeah. They’re really good for, um, getting that solid colour, which was really hard back in the day. The microns was the one I was talking, trying to remember the ment micron.

Isaac George (38:01):
Do you find they bleed?

Edmund Kearsley (38:04):
Um, depends on the paper, I think. And yeah, if you draw fast enough, they, they don’t as much

Isaac George (38:13):
Because I can’t get those to work for me or that brand anyway. I don’t know.

Edmund Kearsley (38:20):
Just speaking of colour, uh, Tim, how did you colour these covers back in the, in the before Times <laugh>? Well, it was, it was early Photoshop. I did colour them in

Tim McEwen (38:34):
Photoshop. I wonder what, yeah, I, I actually, I, I like to tell my students that I’m so old that I used Photoshop back when it didn’t have layers. Um, I was using a Photoshop that was just layer free. All you had was the layer you were on and nothing else. And students look at me as if I’m making it up. You know, that’s, that. Just, that wouldn’t exist. That’s <laugh>. <laugh> has always had layers, but there was, I can remember when some other small, um, software company, um, actually, uh, came out with a programme that would operate as if there were layers. But you were working with these low res proxies of all of these different files and you would place them where you want them. And then it would tell Photoshop how to put together the image, um, <laugh>. So then it would come out as a Photoshop image, like as a, almost like a, like a replay of what you made.

(39:34)
Yeah. It was really a weird time. And of course once Adobe saw that, um, I stole the idea and made Layers <laugh>. But yeah, the, the first, I’m pretty sure the first cover is pretty low res. It really should be. Um, and I think, I think otherwise they’re pretty good resolution. But I, I didn’t have a, I don’t think I had my own Mac to do it on at the time. I was using my, my work Mac, you know, I’m like, like Zach, I’m a trained graphic designer. So I was using the Macintosh at work to do it. Um, uh, yeah, I’ve never, I’m, I’m, I don’t think I’m, I’m really that good a, a colorist or digital painter or anything, either that, but, um, it was, uh, it was, you know, what, what one had to do, I think at, at the time. So yeah, just in time for Photoshop.

Isaac George (40:36):
Nice. Good timing.

Edmund Kearsley (40:40):
Yes.

Isaac George (40:41):
Adam uses, um, version two of Adobe to colour his work.

Tim McEwen (40:49):
Who does

Isaac George (40:50):
Adam Hughes?

Tim McEwen (40:52):
He uses Photoshop. Two version.

Isaac George (40:54):
Two <laugh>. Yeah.

Tim McEwen (40:57):
How does he have a machine that that that runs it?

Isaac George (41:01):
He was talking about in an interview recently. He goes, the computer’s gonna blow up any minute now and I’ll be screwed because then I have to go learn like 20 plus years of new Adobe

Tim McEwen (41:12):
<laugh>. That’s incredible. Just goes to show, right? It’s the, it’s the skill and the, and the, um, yeah. Practise of, of the artist more than the software. It’s,

Edmund Kearsley (41:23):
It’s all in the hand.

Tim McEwen (41:26):
Yeah.

Edmund Kearsley (41:27):
So you can use the same pens and stuff as your favourite artist, but it’s not gonna look the same.

Tim McEwen (41:34):
Exactly. That’s true.

Shane ‘Sizzle’ Syddall (41:37):
Uh, we’ve got a comment in here, Matthew Madden again. Um, there’s one in Clip Studio you can get called Real G Pen. Uh, it’s okay. It adds some texture associated with drawing on real paper. That’s cool.

Tim McEwen (41:53):
Must be named after the Jeep and Pen. Um,

Edmund Kearsley (41:57):
They’re the Japanese ones.

Tim McEwen (41:59):
Yeah. Where’s mine? That’s a real Jeep.

Shane ‘Sizzle’ Syddall (42:08):
I’ll bring you up.

Tim McEwen (42:11):
That’s real. Wow.

Edmund Kearsley (42:12):
They’re basically like a Hunt 1 0 2 kind of.

Tim McEwen (42:15):
Yeah. Yeah. Have you used both the G Pen and the Hunt 1 0 2, Zach?

Isaac George (42:21):
No, I’ve never used those before.

Tim McEwen (42:23):
Yeah. So the, the G pen is, um, really sturdy and hardy and, um, you can press on it pretty hard, as I’m sure you, you’ve know, you’ve like realised yourself to get thick and thin lines. Yeah. Uh, and then I, I went back to a Hunt 1 0 2. Um, forgetting that it is a really delicate piece of machinery and it just snapped with the first line. ’cause I Too hard. So they put

Edmund Kearsley (42:48):
Ink everywhere.

Tim McEwen (42:50):
Well, no. ’cause they don’t actually hold a lot of ink, but yeah, it did make a, a little bit of a mess. Um, so yeah, there are definitely differences. You’ve gotta pay attention to what put what tool you’re picking up at, at any particular time.

Shane ‘Sizzle’ Syddall (43:04):
Wow. <affirmative>

Edmund Kearsley (43:06):
I did buy a, a g pen from the comic shop in the nineties, but I, I could never really get the hang of it.

Tim McEwen (43:16):
Yeah. They take, they take a bit of, um, bit of practise. What do you use it? They

Edmund Kearsley (43:21):
Ment microns when I do, uh, traditional thinking. So you can get the same kind of effect. You just have to go over the line a couple times.

Tim McEwen (43:33):
Yeah. Yeah. So Chris Wall, who, if you, if you dunno Chris’ work, he’s, he’s worth looking up. Uh, he lives down in, um, uh, Wollongong now I think. But he’s one of the, the best illustrators in the country, uh, and one of the best in the world. Uh, he did a bunch of covers for Tank Girl for a while and, um, oh, just done a whole, a whole bunch of stuff. Um, so he’s in greener pastures number eight as well. If I can just drop that in there again. Um, but he, we always

Shane ‘Sizzle’ Syddall (44:02):
Drop that in there.

Tim McEwen (44:03):
<laugh> <laugh>. But, but his work always looks like it’s been done with a brush and he does exactly what you were just sa saying, ed, he just uses like a, a micron or whatever it is and, um, and just draws a few lines to get it as thick as he wants it to be. Um, but that would drive me bananas, uh, <laugh> when I know my brush will, you know, just do it for me, um, because I’m pressing harder or softer.

Mike Nason (44:31):
Wasn’t he supposed to do an issue or something of bug and stump?

Tim McEwen (44:36):
Oh my God, no. There’s a story there. Lemme tell you. Yeah,

Mike Nason (44:40):
I think everyone was waiting for it. <laugh>.

Tim McEwen (44:43):
Oh man. I, I’m not sure how much of this I should say ’cause I’ll probably get it wrong and I’m not sure how much of it is, uh, is public knowledge, but I’ve seen the pages and they look absolutely incredible.

Shane ‘Sizzle’ Syddall (44:56):
Wow. Oh, cool.

Tim McEwen (44:58):
It’s not an urban legend. It’s a real thing. <laugh>. You can ask Sexton sometimes when you’ve got him on your show.

Shane ‘Sizzle’ Syddall (45:10):
Oh, okay.

Tim McEwen (45:13):
I’ve got a question for you, ed.

Shane ‘Sizzle’ Syddall (45:15):
Yeah. Cool.

Tim McEwen (45:17):
Uh, IIII get kind of, um, like, have you heard of a character called Raj 2000 by John Byrne?

Edmund Kearsley (45:28):
No.

Tim McEwen (45:29):
No. Mike’s nodding his head. That’s cool. I’ve

Mike Nason (45:32):
I’ve heard of it. I think I’ve seen it. I’m not, I’m not, I’m assuming it was a, um, was that a robot?

Tim McEwen (45:40):
Yeah. Yeah, it was a robot. Yeah. He, he’s got, uh, blank here, has got some, some Roger 2000 vibes going on. I thought you might’ve been a a John by fan.

Shane ‘Sizzle’ Syddall (45:50):
I do like John Burn.

Tim McEwen (45:52):
Yeah. Yeah. Oh, there you go. You were, you were unconsciously, um, channelling him, I think. Yeah.

Edmund Kearsley (46:00):
Little bit of, um, Eastman and La Fugi to as well.

Tim McEwen (46:05):
Ah, yeah. Yeah.

Edmund Kearsley (46:08):
I see.

Tim McEwen (46:10):
Um, I think it was before we came on air, I, I was saying it’s such a great design, um, blank. So to wherever it came from in your subconscious. It, it’s worked very well.

Shane ‘Sizzle’ Syddall (46:29):
Also, Mike, oh, sorry. Sure. Uh,

Edmund Kearsley (46:34):
Put my full screen.

Shane ‘Sizzle’ Syddall (46:36):
Yeah, sure.

Edmund Kearsley (46:37):
We can have a look at the,

Tim McEwen (46:39):
Oh yeah, there’s Roger 2000 <laugh>. That’s sort of like a, it looks like it’s, uh, early 2020, you know, 2000 something drawing. Uh, he was, he came up with it in like 1975 or something. Um. Oh wow. That’s why it’s got the bell bottom legs and whatnot. You know, it’s very kind of, of the era. But, um, very cool robot.

Shane ‘Sizzle’ Syddall (47:06):
Oh, that’s cool.

Tim McEwen (47:08):
And I think he’s still, like, he still loves it as kind of a, a mascot ’cause it’s one of the, the first things he ever created. So it still kind of pops up in places.

Shane ‘Sizzle’ Syddall (47:20):
Alright. Like the, let’s draw a comic book show. I’ll make a comic book. Sorry. Don’t even know the name of the show. Jesus <laugh>.

Edmund Kearsley (47:38):
Oh, let’s have a look at Zach’s.

Shane ‘Sizzle’ Syddall (47:40):
Oh, Zach’s.

Edmund Kearsley (47:41):
He’s got something going on there.

Tim McEwen (47:43):
Woo.

Shane ‘Sizzle’ Syddall (47:45):
Oh, we’re zooming in on the, the creatures.

Tim McEwen (47:47):
Fantastic. Very good. Very good.

Shane ‘Sizzle’ Syddall (47:52):
That’s awesome.

Isaac George (47:57):
You’re right. There aren’t enough creepy fish people

Tim McEwen (48:00):
<laugh>,

Isaac George (48:03):
Because when I was looking at Bronwyn, I drew, um, the Fons, they immensely one-eyed giant kind of things. I drew them as like crispy weirdo fish people.

Tim McEwen (48:15):
Yeah.

Shane ‘Sizzle’ Syddall (48:18):
Oh, okay.

Tim McEwen (48:20):
Yeah,

Shane ‘Sizzle’ Syddall (48:21):
Those, I remember them.

Edmund Kearsley (48:23):
Oh yeah.

Tim McEwen (48:25):
Very cool.

Isaac George (48:27):
I don’t know. Creepy fish. People just look good.

Edmund Kearsley (48:30):
They do <laugh>. It’s the, um, the, um, lovecraft the ins mouth or whatever. Oh, the fish monsters.

Tim McEwen (48:42):
Yeah.

Edmund Kearsley (48:51):
How are we doing for comments?

Shane ‘Sizzle’ Syddall (48:54):
Uh, oh God. I wasn’t watching. I was too busy watching <laugh>. Mike. Um, Peter Lane says, I’ve heard that Chris Wall doing some, oh God, my eyes are going all funny. Sorry. Um, bug and stump artwork. Crazy story. Sorry story. Mm. Um, pretty sure I saw two or three pages online and they looked amazing. Has that made any sense to me reading that out? With my eyes going all fuzzy.

Tim McEwen (49:22):
Yeah. There you go. I’ve seen them in real life, Peter. And they, there’s, there’s more than two or three pages, let me tell you. And they are amazing.

Shane ‘Sizzle’ Syddall (49:31):
Wow.

Edmund Kearsley (49:34):
Dick Chris was doing a bunch of stuff in the nineties. Like there’s, um, I feel like every book he had something in,

Tim McEwen (49:44):
Yeah, he did some zero assassin stuff and

Edmund Kearsley (49:47):
Yeah,

Tim McEwen (49:49):
He certainly did a cyber sw pinup. I dunno if he did anything other than the pinup. Um,

Shane ‘Sizzle’ Syddall (49:55):
Okay.

Edmund Kearsley (49:56):
And that was it sc that punk rock cop?

Tim McEwen (50:00):
Oh yeah, yeah. <laugh>.

Edmund Kearsley (50:02):
I think he had a, like a backup in that maybe. Yeah.

Tim McEwen (50:06):
But he also had his own comic. He was publishing a comic called Platinum, not to be mistaken or or confused with Platinum Grit, but he did a, his own comic called Platinum as well. Uh, two, two issues, wasn’t it? I think that’s right.

Edmund Kearsley (50:24):
I don’t think I’ve heard of that one.

Mike Nason (50:29):
It was actually the first thing that I bought, uh, when I got an e, um, a eBay account was one of those issues. Oh. Oh

Shane ‘Sizzle’ Syddall (50:38):
No.

Mike Nason (50:39):
Yeah.

Edmund Kearsley (50:40):
I bought a <inaudible>,

Shane ‘Sizzle’ Syddall (50:48):
I wouldn’t even have a clue. The first thing I bought on eBay <laugh>, given the time period, I was probably drunk

Tim McEwen (50:58):
<laugh>. That’s not where I thought that sentence was going work <laugh>.

Shane ‘Sizzle’ Syddall (51:07):
And I doubt I was on eBay at work. So I do remember a friend ringing me up and saying, Hey, you gotta check out this new thing called Facebook. Remember that? Yeah.

Tim McEwen (51:20):
Yeah.

Shane ‘Sizzle’ Syddall (51:22):
Okay. That turned out. Oh my

Tim McEwen (51:24):
God. <laugh>.

Edmund Kearsley (51:34):
Let’s have a look at Tim’s.

Shane ‘Sizzle’ Syddall (51:36):
Oh yeah. It’s progressing big time.

Edmund Kearsley (51:39):
Oh, there you go. Oh, nice lettering

Tim McEwen (51:44):
Go.

Edmund Kearsley (51:46):
It’s really hard to letter with the computer, with the Yeah,

Tim McEwen (51:51):
Yeah, yeah. I’m trying to, um, trying to indicate there’s lots of buildings without spending the next four days drawing them <laugh>. It’s, it’s not a’s, not a small civilization, it’s quite extensive. Why do I manage these things that are hard to draw? So the, the further into this I go, the more shorthand I’m using <laugh> <laugh>.

Edmund Kearsley (52:20):
But that’s the trick of doing comic books is is learning what not to draw.

Tim McEwen (52:26):
Yeah, exactly.

Shane ‘Sizzle’ Syddall (52:44):
Ooh, I like where this is going. That’s awesome. I just realised the scale difference.

Tim McEwen (52:57):
What’s that? Yes.

Edmund Kearsley (52:59):
’cause you’ve made the, the guy’s little and then, um,

Tim McEwen (53:03):
Oh, the scale difference.

Edmund Kearsley (53:05):
Mike’s make them big

Tim McEwen (53:06):
<laugh> <laugh>. Yeah. I’m, I’m, I’m actually trying to fiddle with it. A and I don’t think it’s gonna work. I was gonna, maybe if I just get rid of that boat actually, um, to try, if, if I do it right, it’ll just look like it’s in existence instead of small. And then it’ll all make better sense. So,

Shane ‘Sizzle’ Syddall (53:26):
Or we could go with the fact that the civilization, once you go into it properly, it shrinks you. How’s that <laugh>?

Tim McEwen (53:33):
Are we going too far? <laugh>? No, not at all.

Edmund Kearsley (53:37):
It’s that, uh, the whole Transformers cartoon with the, like the whole team can fit in the back of ashtray train. Who’s the same size as them? <laugh>.

Shane ‘Sizzle’ Syddall (53:51):
Oh, what we got here.

Shane ‘Sizzle’ Syddall (53:54):
Let’s see.

Shane ‘Sizzle’ Syddall (53:55):
Don’t drink an eBays. Yes, this is true. Peter. I bought some very stupid things.

Edmund Kearsley (54:02):
They’re usually expensive too.

Tim McEwen (54:04):
Mm. That’s an expensive drink.

Shane ‘Sizzle’ Syddall (54:06):
That’s what made them stupid.

Edmund Kearsley (54:08):
Yeah.

Shane ‘Sizzle’ Syddall (54:09):
They were probably good things until, um, you looked at the price and I sober it up. Well that’s one way to sober up when you see the, you spent. Well, it’s also a big surprise when they arrive. ’cause you don’t remember buying them <laugh>. That too.

Tim McEwen (54:26):
It’s

Edmund Kearsley (54:26):
A gift. There’s also the

Tim McEwen (54:29):
Go on,

Edmund Kearsley (54:30):
There’s the, the, the thing where you buy something expensive and then you’re like, I don’t even want this. Well, what did I buy it for?

Shane ‘Sizzle’ Syddall (54:36):
Yeah. Was it really me who put it?

Tim McEwen (54:43):
It’s a gift from past self to future self. You should be grateful. Stop looking.

Shane ‘Sizzle’ Syddall (54:47):
Yes. Yes. Future me can deal with it.

Tim McEwen (54:51):
That’s right.

Shane ‘Sizzle’ Syddall (54:52):
You can deal with the bill. It’s affordable. Right Now,

Edmund Kearsley (54:55):
Did you ever have the one way you, you drunken buy something, but it’s still like the, the auction’s still going and you’re the highest bider and you’re hoping that you don’t win

Shane ‘Sizzle’ Syddall (55:04):
<laugh>. Oh God. Because you always, I’ve been there. I dunno if that was drunk or sober, but I have been there where I’ve gone, oh, why someone out bid me please.

Edmund Kearsley (55:16):
They never do.

Shane ‘Sizzle’ Syddall (55:18):
And they never do. And you’re like, oh, why do I bid on that?

Tim McEwen (55:24):
Alright, so

Shane ‘Sizzle’ Syddall (55:25):
It be like that. Um, it’d be, what was it? Um, friends where Joey bids on the, the, the, the, the boat. The boat. He thinks he’s guessing the price.

Edmund Kearsley (55:35):
<laugh>

Shane ‘Sizzle’ Syddall (55:37):
And he ends up getting it.

Tim McEwen (55:40):
<laugh>. <laugh>.

Shane ‘Sizzle’ Syddall (55:45):
Yes. I got the closest guess. No, you just bought it actually. <laugh>, uh, yes. eBay and drinking very bad compo.

Edmund Kearsley (56:00):
Good times.

Shane ‘Sizzle’ Syddall (56:02):
But I had a lot of good comics from it. Ones I couldn’t afford and find ways to afford <laugh>. But I got a lot of good comics from it.

Edmund Kearsley (56:12):
They you go. So should we where Oh, go ahead.

Tim McEwen (56:23):
I was just gonna say, where were you all sitting? Like, I’m, I’m in Sydney. Where, where is everybody? I kind of start to lose track of where everybody was. Oh yeah. Uh, Melbourne.

Edmund Kearsley (56:32):
I’m in Melbourne too. <inaudible>.

Tim McEwen (56:34):
Right.

Shane ‘Sizzle’ Syddall (56:36):
And I’m far away from everyone in Brisbane.

Edmund Kearsley (56:38):
Brisbane

Shane ‘Sizzle’ Syddall (56:41):
Upwards. It’s not as hot as you guys go figure. I’m gonna

Tim McEwen (56:44):
Say it’s not the hottest place in Australia at the moment.

Shane ‘Sizzle’ Syddall (56:47):
No. It’s humid, but it’s not hot.

Edmund Kearsley (56:51):
And our, our profiles are stacked the opposite way of the how the map works.

Tim McEwen (56:56):
True <laugh>.

Shane ‘Sizzle’ Syddall (56:58):
Ah, yes. Australia really is upside down.

Edmund Kearsley (57:08):
That’s evidence. If ever

Shane ‘Sizzle’ Syddall (57:11):
Heard any. Yep. Well apparently we don’t exist. I was reading somewhere.

Edmund Kearsley (57:15):
Mm.

Tim McEwen (57:16):
We just acted.

Shane ‘Sizzle’ Syddall (57:18):
We just act. That one’s always good fun to read. Yeah. Cool. I,

Tim McEwen (57:31):
I’m not really sure what I’m doing here. I,

Edmund Kearsley (57:37):
That’s the one good thing about digital is you can draw through stuff and then erase it. Yeah.

Shane ‘Sizzle’ Syddall (57:43):
Yeah. I was trying to figure out what you were doing there.

Tim McEwen (57:47):
<laugh>. So was I <laugh>

Shane ‘Sizzle’ Syddall (57:50):
I’m like,

Shane ‘Sizzle’ Syddall (57:51):
Why is, why is he destroying his picture <laugh>?

Shane ‘Sizzle’ Syddall (57:55):
Yeah.

Tim McEwen (57:56):
I’m still not sure if it’s gonna work. I might end up getting rid of all of this. Um, but I’m just trying to figure out a, a way to have everything recede into blackness.

Shane ‘Sizzle’ Syddall (58:12):
I’m still going with my story that you shrink when you go into this land. <laugh>. I’m sticking with it.

Tim McEwen (58:18):
Yeah. Yeah. It’s good logic. Good. Good. Comic book logic.

Shane ‘Sizzle’ Syddall (58:23):
Yeah, I was gonna say it’s comic book Logic at its best. <laugh>. Who was I talking to? They were, they were talking about, um, the comic that they just read and they haven’t read many comics. I can’t remember who it was, but I’m like, suspension of disbelief. Trust me. This, it’s all part of it.

Tim McEwen (58:41):
Exactly.

Shane ‘Sizzle’ Syddall (58:44):
They’re like analysing. But it doesn’t work that way. And this doesn’t do that and that doesn’t, it’s like it’s a comic. <laugh>

Tim McEwen (58:50):
<laugh>. Yeah. It’s a weird thing when people start reading comics, if they haven’t really read them since they were a kid that they, they don’t know how to do it. They don’t know how they work. It’s really weird.

Shane ‘Sizzle’ Syddall (59:05):
Mm-Hmm. <affirmative>.

Tim McEwen (59:09):
Like it’s a no, it’s a known thing that, uh, you have to retrain. You have to retrain people to, um, to read it. ’cause they go, what do I, what do I read first? The pictures or the, or the, um, words or, and you know, you, you and I reading comics, we never even think of it. It just,

Shane ‘Sizzle’ Syddall (59:29):
Yeah.

Tim McEwen (59:31):
It just comes naturally. You know, the, the reading of the page, you don’t read the pictures or the words first you read the page.

Shane ‘Sizzle’ Syddall (59:39):
Yeah, exactly.

Mike Nason (59:40):
In, in high school I had to number with a pencil the, uh, wood balloons in order, uh, in a Rob Fel comic book so someone could read them and understand what was going on. <laugh>.

Shane ‘Sizzle’ Syddall (59:55):
Unbelievable. <laugh>. That’s that’s crazy.

Mike Nason (59:58):
Yeah.

Shane ‘Sizzle’ Syddall (59:59):
<laugh> but awesome at the same time. Go figure.

Mike Nason (01:00:03):
Yeah. It was one of the,

Shane ‘Sizzle’ Syddall (01:00:08):
Because I can read a filled, uh, comic <laugh>.

Mike Nason (01:00:11):
Yeah.

Edmund Kearsley (01:00:18):
Oh dear. There. Do you reckon it’s about that time sis.

Shane ‘Sizzle’ Syddall (01:00:21):
Oh God. I wasn’t watching the time. Yes, it is. It’s about that time people and they, they’re all going. What’s that mean? Uh, what it is is whatever you’re up to, um, we want a copy of it. Um, oh yeah. So it’s not your finished product. It’s just to give everyone a bit of an idea of what the coin kind of looks like. The page, sorry. Kind of looks like at the end of the sh at the end of the show. So, um,

Edmund Kearsley (01:00:49):
What made a full screen,

Shane ‘Sizzle’ Syddall (01:00:50):
Mike, sorry for you. Sorry. Yep. I’m gonna say Tim and Mike, you can probably, um, just message me the picture. ’cause it doesn’t have to be high res for this.

Mike Nason (01:01:03):
Yep. Okay.

Shane ‘Sizzle’ Syddall (01:01:04):
And um, you can probably do the same actually Zach, but a really nice photo, like try to get it square. Yeah. And then I’ll send it over to Ed whose name I couldn’t remember for a second. Then <laugh> and um, yeah, they do that gonna pretty cool.

Edmund Kearsley (01:01:26):
Everyone go to comics shop,

Shane ‘Sizzle’ Syddall (01:01:31):
Buy some comics

Edmund Kearsley (01:01:34):
There. That one’s mine. There’s uh, di that was uh, is that Danny Nolan?

Shane ‘Sizzle’ Syddall (01:01:41):
Yeah. Yeah. It is actually Nolan’s,

Edmund Kearsley (01:01:43):
It’s me again. Duncan Angry Squad looks good.

Shane ‘Sizzle’ Syddall (01:01:49):
The angry Squad’s Cool. Actually it’s a lot of fun. Uh, I sent it to you on Facebook, Shane. Yep. Awesome. Thanks.

Edmund Kearsley (01:01:56):
Metropolis. Satellites deaf ship. Jenny, that’s uh, Rob O’Connor’s being on the show. Mm-Hmm. <affirmative>. He’s the series. And Doug, that bots of uh, Susan Doug. It looks like Trevor Bo in the thing there.

Shane ‘Sizzle’ Syddall (01:02:17):
That’s <crosstalk>. I You on seen many <laugh>. Oh, you’re on the store. Okay. Yep. Yeah,

Edmund Kearsley (01:02:25):
It got Rob Lyle and Ryan Bella.

Shane ‘Sizzle’ Syddall (01:02:31):
Ah, better hand. That’s a lot of fun. Boom. Scott, I need to sit down and read that. It looks cool.

Edmund Kearsley (01:02:36):
There’s another one of mine, sea Manels from Earth.

Shane ‘Sizzle’ Syddall (01:02:40):
That’s what I’m talking about.

Edmund Kearsley (01:02:42):
Who does that? That’s too stupid. That was, um,

Shane ‘Sizzle’ Syddall (01:02:47):
Brad Daniels. That Robert,

Edmund Kearsley (01:02:48):
Brad Daniels. Brad Daniels.

Shane ‘Sizzle’ Syddall (01:02:51):
Yeah. And Mark was Brad Daniels as well. And tells, well you got a bit in there, Brad. If you’re watching a bit of a row of you. Uh, no Man’s Land is Shade and Jew. Yep. Devil Toilet. Rob Lyle. Yep.

Edmund Kearsley (01:03:09):
What else? Those looks of these. There’s uh, Deshaun Silver did the first, uh, panel. There’s Nick Clary. It’s tonnes of good books for everyone.

Tim McEwen (01:03:31):
You guys, Shane, I’ve just messaged it to.

Shane ‘Sizzle’ Syddall (01:03:34):
Perfect. Thank you very much.

Tim McEwen (01:03:45):
I’ve got a page in Sizzle and Dub in the multiverse.

Edmund Kearsley (01:03:48):
Excellent.

Shane ‘Sizzle’ Syddall (01:03:49):
Oh nice. That was a lot of fun. And um, uh, Rob did such a good, um, thing getting the orders. It almost was like a story. Yeah.

Tim McEwen (01:03:59):
Yeah, I noticed.

Shane ‘Sizzle’ Syddall (01:04:00):
And no one, no one talked to each other. It was just all random stories. Yeah.

Edmund Kearsley (01:04:07):
And he did the good bookends as well.

Shane ‘Sizzle’ Syddall (01:04:09):
Yeah.

Tim McEwen (01:04:11):
Yeah.

Edmund Kearsley (01:04:15):
I can see the, the stream on Facebook with the, the thing going through.

Shane ‘Sizzle’ Syddall (01:04:25):
Alright. Um, oh Mike, are you sending it through Messenger or

Mike Nason (01:04:31):
Email? I’m, uh, just about to do, uh, messenger. Give just a couple

Shane ‘Sizzle’ Syddall (01:04:36):
More seconds. I’m just gonna open my email. We’re gonna

Tim McEwen (01:04:38):
Send it there. I left, I left mine half done. Come on <laugh>.

Shane ‘Sizzle’ Syddall (01:04:44):
You finish it afterwards and then you send us Yeah,

Mike Nason (01:04:47):
No, no, no. It, it, it is nowhere near finished. But, um, it’s technology. I’m, I’m still learning after

Shane ‘Sizzle’ Syddall (01:04:54):
50 years. Ah, yeah. That’s cool. All good. Gives us an excuse to look at more of the shop.

Mike Nason (01:04:58):
Yeah. Yeah. Actually this may I just

Tim McEwen (01:05:00):
Trying to make yours look prettier than mine. Mine is Zach’s

Mike Nason (01:05:06):
No, no. Uh, right at the moment I am probably actually gonna send an email ’cause this is gonna take too long. Hang on.

Shane ‘Sizzle’ Syddall (01:05:13):
Okay. If you wanna send an email, that’s all good. Yeah,

Edmund Kearsley (01:05:16):
That’d be So everyone get their Comex caps as well?

Shane ‘Sizzle’ Syddall (01:05:19):
Yeah, I’ve got like, forget how many I’ve got. There’s like a hundred I think

Edmund Kearsley (01:05:25):
You mean you’ve got hardly any and they, they need to get in quick.

Shane ‘Sizzle’ Syddall (01:05:29):
<laugh>. Oh, sorry. Yeah, there’s only five left. Get in quick. You’ll miss out on.

Edmund Kearsley (01:05:34):
Looks like Neil, the next five, Neil Blandon there did that crazy panel for us.

Mike Nason (01:05:44):
Uh, which email actually?

Shane ‘Sizzle’ Syddall (01:05:47):
Uh, any of ’em. I’ll get it from whichever one you send it to.

Mike Nason (01:05:50):
Alright.

Shane ‘Sizzle’ Syddall (01:05:51):
Uh, if you can send it to the art one, that’s probably easiest if you’ve got that for the drink and draw,

Mike Nason (01:05:56):
Uh, art at Comic Studio.

Shane ‘Sizzle’ Syddall (01:05:59):
Yeah, that’s the one.

Mike Nason (01:06:00):
Alright, cool.

Edmund Kearsley (01:06:04):
Lots of stuff. The pages just keeps going, which is good to see.

Shane ‘Sizzle’ Syddall (01:06:10):
Yeah, yeah. There’s um, there’s over a hundred titles in the shop at the moment. So, um, it fills my living room. <laugh>,

Edmund Kearsley (01:06:30):
What, how was Groovy Gravy? Is that Sky’s Catherine Library that was mentioned?

Shane ‘Sizzle’ Syddall (01:06:39):
Mm-Hmm.

Edmund Kearsley (01:06:40):
<affirmative> earlier on the show.

Shane ‘Sizzle’ Syddall (01:06:42):
Yeah. Oh, the Groovy. Um, Ravis are all, um, PDFs too. So if you buy them, you get ’em straight away.

Tim McEwen (01:06:50):
What’s the highest number of groovy gravy? ’cause that’s a pretty that like, that would that that’s a long lived, uh, anthology. Actually, it’s another thing that Brad should be really proud of.

Shane ‘Sizzle’ Syddall (01:07:01):
I can’t remember the actual highest number that I’ve put in, but, um, I know they had a discussion about this on Facebook. Oh yeah. And it might be the longest lived, like, uh, years.

Tim McEwen (01:07:14):
Yeah, right.

Shane ‘Sizzle’ Syddall (01:07:15):
Um, because, uh, he’s only done so many a year, so it’s gone for a really long time. But there are anthologies that have printed many more issues. That’s all

Tim McEwen (01:07:29):
In Australia.

Shane ‘Sizzle’ Syddall (01:07:31):
In Australia. I can’t remember which ones they brought up, but they, there was, it, it it, it caused a bit of a little controversy on, um, I think it was Australia Loves comics, uh, page

Mike Nason (01:07:42):
That, uh, Lisa Ray comic there. Go back to where you were. Yeah. Lisa Ray, that looks, that cover just reminds me of the first issue of anthology, if you remember that old, uh oh, okay. Yeah. Yeah. The, the, the, the, the buildings in the background. That big yellow guy. Yeah. That’s just all of a sudden it, that’s what it made me think of.

Shane ‘Sizzle’ Syddall (01:08:06):
Okay, cool. I wonder if that’s what, um, <inaudible> was inspired by.

Mike Nason (01:08:11):
Ah, who knows. Anyway,

Edmund Kearsley (01:08:16):
Todd Mc the Yeah. Hand there. That’s cool.

Mike Nason (01:08:20):
His work’s getting really, really good by the way.

Edmund Kearsley (01:08:23):
Yeah,

Shane ‘Sizzle’ Syddall (01:08:24):
Yeah. Yeah. It’s

Edmund Kearsley (01:08:25):
Getting real slick. Yeah. Looks great. All right. I’m gonna put this page together.

Shane ‘Sizzle’ Syddall (01:08:36):
Yep. And I will get back to the show. ’cause I’m, I’m on a totally different tab. Okay. What I’m gonna do is bring up my page. So I’m gonna get rid of, um, oh, you’ve got rid of yourself. Okay. Add this to the stage. So, uh, if I’m in this page, I might as well bring up this again or where to put it there. Thank you.

Tim McEwen (01:09:01):
Wonderful.

Shane ‘Sizzle’ Syddall (01:09:03):
We are looking at people’s Instagrams. So we’re starting with Green Pastures comics. We, um, which funnily enough has all the stuff about Kickstarter, <laugh>.

Tim McEwen (01:09:14):
It’s a reasonably new, uh,

Shane ‘Sizzle’ Syddall (01:09:17):
I was gonna say it looks like, because you know, I didn’t go through this before I put it up <laugh>.

Tim McEwen (01:09:21):
Yeah. Yeah. I, I’m, I’m not very good with social media and now that I’ve got two accounts on every platform, one for me and one for the comic, it’s like, oh, it’s a little bit too much. So, um, but yeah, it’s, um, that’s reasonably new. Thanks for showing it. I could get, I could do with some more followers and then I might be a little bit more, um, uh, motivated to, to try to keep it current, but my own one. Tim McEwen.

Shane ‘Sizzle’ Syddall (01:09:47):
Yeah, I’ve got that one next.

Tim McEwen (01:09:49):
Yeah, that, that one.

Shane ‘Sizzle’ Syddall (01:09:50):
Funny. You and Zach have two Co. Mike just has one that I’ve found at least. Anyway. He might have more than one.

Mike Nason (01:09:58):
Uh, just Instagram,

Shane ‘Sizzle’ Syddall (01:10:00):
Just in I follow.

Tim McEwen (01:10:02):
I wasn’t following Mike and I, I, I just, um, started following, I’m

Mike Nason (01:10:05):
Very quiet. I’m, I’m very quiet. I’m always in the background.

Shane ‘Sizzle’ Syddall (01:10:10):
<laugh>

Tim McEwen (01:10:11):
Still, I should be following.

Shane ‘Sizzle’ Syddall (01:10:13):
And that’s, that’s comforting that I am following Green Pasture comics. So I didn’t have that embarrassing moment live on the show. <laugh>.

Tim McEwen (01:10:21):
I wouldn’t have even thought

Shane ‘Sizzle’ Syddall (01:10:22):
Of that. Oh yeah, good. I’m following Tim as well. Good stuff. <laugh> more stuff about it.

Tim McEwen (01:10:29):
Yeah. If you get past all the Kickstarter stuff, there’s other bits and pieces. Um,

Edmund Kearsley (01:10:34):
Yeah.

Shane ‘Sizzle’ Syddall (01:10:35):
Oh, is that the list of everyone that’s in it?

Tim McEwen (01:10:37):
Yeah. In number eight. Yeah, that’s the list. Click on that.

Shane ‘Sizzle’ Syddall (01:10:40):
I’ll bring it up. We were,

Tim McEwen (01:10:41):
We were talking about Chris Wall. He’s in it, uh, Nicholas Scott, Dean Rankin, John Summer River, the great Gary Chana. Um, Marty Abel. Marty Abel, who’s doing a Kickstarter at the moment. That’s like at $60,000 or something. He’s, he’s just killing it. Um, oh wow. Teddy Hollywood. Katie Ward. Louis Joyce. Amazing lineup. My son Samuel mc. Yeah, very much so. My daughter, Annabel McEwen is in it, uh, the original writer for, um, Brina p’s uh, his daughter Pia. Is it So bit of a multi-generational thing happening as well? I think it’s about four, four or 5, 4, 4 different countries are represented there. Um, wow. Numerous, yeah. People from Sydney all the way to Perth. Yeah, it’s cool. Great. Um, great lineup. Very um, chuff to have everybody in it. Oh,

Mike Nason (01:11:38):
And where is it at at the moment with the Kickstarter? Like,

Shane ‘Sizzle’ Syddall (01:11:41):
I didn’t bring that up. That was, that was pretty dumb.

Tim McEwen (01:11:44):
It’s, um, it’s about, it’s halfway through the month, so we’ve got another two weeks to go and it’s nearly double the, the, um, sweet. Uh, yeah, double the target. So really relieved about that. <laugh>. It’s my first ever Kickstarter, so it was a bit scary.

Shane ‘Sizzle’ Syddall (01:12:07):
Oh, Peter, Lana said 23 issues. I’m assuming he’s talking about, um, gravy. Gravy, which way around <laugh>. Um, and saying thanks for the sky cabins library. Attention. Not a problem, Peter. Yeah. Yeah, these pictures are really cool. I like this. I like the colours as well, that you used colour to, um, your whole character.

Tim McEwen (01:12:33):
It’s my, my life drawing either of people on public transport or actual life drawing models.

Shane ‘Sizzle’ Syddall (01:12:39):
Oh

Tim McEwen (01:12:39):
Yeah. A lot of that, that one at the top now that the, the, the wide one that was done almost in the dark at a, at a, uh, concert <laugh> while the, while the support acts were on, I was drawing all of the people in the crowd.

Shane ‘Sizzle’ Syddall (01:12:55):
Um, oh, that’s awesome.

Tim McEwen (01:12:56):
That was, yeah, that was a weird one to do.

Mike Nason (01:13:00):
How much did you sign those for?

Tim McEwen (01:13:04):
They’re all in the book. I can’t sell

Mike Nason (01:13:06):
’em. Oh, right, right, right. Excellent. Okay.

Tim McEwen (01:13:08):
No, yeah, they just, they’re just practise.

Mike Nason (01:13:11):
Yeah. Cool.

Shane ‘Sizzle’ Syddall (01:13:13):
They’re cool though. Yeah. Well, let’s jump over to Zach and what am I in Zach Drew comics.

Tim McEwen (01:13:21):
What’s Zach Drew?

Shane ‘Sizzle’ Syddall (01:13:24):
Oh, what’s actually, oh God. Yeah. Yeah. I can’t see tonight.

Tim McEwen (01:13:32):
How long does it take you to do a page, Zach? You know, with all of the, the toning and everything?

Isaac George (01:13:37):
Um, it depends on the page. So if you look at say the one if, okay, so her on the horse.

Shane ‘Sizzle’ Syddall (01:13:50):
Uh, yep. Cool. I’ll bring it up. That,

Isaac George (01:13:52):
To get that to there, that was eight hours. Yeah. Because drawing on a horse is a pain in the ass.

Shane ‘Sizzle’ Syddall (01:14:01):
The horses are

Isaac George (01:14:02):
Terrible to tell, and I’m looking forward to getting her off the horse and the horse disappearing. <laugh>,

Tim McEwen (01:14:09):
That’s the world. You,

Shane ‘Sizzle’ Syddall (01:14:11):
The story. There you go.

Mike Nason (01:14:13):
So clearly there’s a, there’s a lot of reference involved, right?

Isaac George (01:14:17):
Yeah.

Mike Nason (01:14:18):
Yeah.

Isaac George (01:14:20):
Because you have to figure out, you have to remember like the person’s sitting, but they’re not sitting like the cart is squatting and again, the head’s, the horse’s height ratio to the person who’s like squatting and you are like, no, doesn’t always work out. Very

Shane ‘Sizzle’ Syddall (01:14:39):
Cool. Yeah. Yeah. Hard. I like how you’ve marked the years. Oh, so you know where the drawings have changed over the year, and we’ve also got WhatsApp drew without the comics.

Isaac George (01:14:55):
Um, that’s for like all the

Shane ‘Sizzle’ Syddall (01:14:56):
You cool things there, like

Isaac George (01:14:57):
Pop culture stuff Cool. Being bro in there, but it’s

Shane ‘Sizzle’ Syddall (01:15:02):
Headless, Bronwyn. Nice. And I’m thinking Ed’s finished, so I might go on a mike so I can see a bit of Mike’s stuff. Okay. That looks cool. Very cool. That’s amazing. Is that some digital work? There was a, an ape? Yeah,

Mike Nason (01:15:30):
So I, I mix it up. Um, so the one above the gorilla that’s, um, painted, just, uh, you know, normal, um, uh, watercolours, the one Oh wow. On the right hand side, just above the two ladies is painted with watercolours as well, or, or, yeah. Oh yeah. If not, no, yeah. Watercolour watercolours. Yeah. So, but the, the, the A is digital. The, the, uh, Medusa is digital. Um, the Medusa was, um, in Gimp and

Shane ‘Sizzle’ Syddall (01:16:04):
Oh, no way you use that. Cool.

Mike Nason (01:16:06):
Well, I, I, I, I cycle through different things depending on what I’m after. Um, right. I believe that the ape was Photoshop. Um, Mm-Hmm. <affirmative>. Yeah. So I, I’m, I’m never static in my, in my style of what I’m doing. I’m always shifting, which is why comic books are a little bit of an issue for me having to draw the same thing over and over again. That’s why I keep the, I keep the short stories.

Shane ‘Sizzle’ Syddall (01:16:33):
Nice. Cool. Well, we’ll go back to Ed. Amazing work.

Edmund Kearsley (01:16:41):
Speaking of amazing work. Let’s have a look at

Shane ‘Sizzle’ Syddall (01:16:43):
This. All of that. Yay. <laugh>.

Edmund Kearsley (01:16:50):
That’s looking great.

Shane ‘Sizzle’ Syddall (01:16:52):
Yeah.

Edmund Kearsley (01:16:52):
Blank sticking his head through the grounds. A Oh, hello. Secret underground civilization. And you got him swooshing out of the hole with the,

Mike Nason (01:17:03):
We can add a word. We can add some word balloons or something to that one maybe later.

Edmund Kearsley (01:17:08):
Yep. We got the, yeah. Got these guys. And then instantly,

Mike Nason (01:17:15):
Ooh, to

Edmund Kearsley (01:17:15):
The surface dollar Violet. What? Why must we hate each other? Why can’t we

Shane ‘Sizzle’ Syddall (01:17:24):
And the eyeballs to the fish people apocalypse. Oh,

Mike Nason (01:17:28):
Isn’t there something about writing where you’re supposed to put your character in the least, uh, favourable position each time, you know, to keep the drummer going? Yeah.

Edmund Kearsley (01:17:37):
Is that the idea?

Mike Nason (01:17:38):
Yeah.

Edmund Kearsley (01:17:39):
Very good.

Shane ‘Sizzle’ Syddall (01:17:44):
That’s great.

Mike Nason (01:17:45):
Cool. I love that.

Edmund Kearsley (01:17:52):
And I try and find my mouse here. Just All right. That’s going to do us for tonight for the shirt. Mm-Hmm. But that, thank, um, Mike being on

Mike Nason (01:18:07):
No Problems.

Edmund Kearsley (01:18:08):
And Zach, thanks for coming, mate. More than welcome. And Tim, thanks for coming in and

Shane ‘Sizzle’ Syddall (01:18:15):
Yeah, appreciate that.

Edmund Kearsley (01:18:18):
Had a ball.

Mike Nason (01:18:20):
Cool.

Edmund Kearsley (01:18:21):
And well, thank, uh, everyone. You guys too. Yeah,

Mike Nason (01:18:25):
Sorry.

Edmund Kearsley (01:18:27):
I just said it was great. It was great to hang out with you guys as well. Yes. Fantastic. Oh yeah. <laugh>, but thank everyone in the chat as well. Yep. Uh, and we’ll thank, we’ve got some comments in you pressing the buttons and doing the comments. So let’s get the last comments in.

Shane ‘Sizzle’ Syddall (01:18:44):
I just got, it’s just one comment. The other one was about the 25 issues. Um, awesome. Great work. Everyone from Nick May. Thank

Edmund Kearsley (01:18:51):
You, Nick. Thanks Nick.

Shane ‘Sizzle’ Syddall (01:18:53):
He’s in half an hour early and he’s got the last comment, but looks, but <laugh>, oh no, someone else has jumped. Matthew Madden for Thanks, guys. <laugh>.

Edmund Kearsley (01:19:04):
Thanks Matthew.

Shane ‘Sizzle’ Syddall (01:19:05):
You’ve been done. You’ve been outdone there. Um, Nick, cool. Well, um, yeah, thanks everyone, as Ed said, and, um, I need to go, wasn’t

Mike Nason (01:19:17):
Half as bad as I thought it was gonna be. <laugh>

Shane ‘Sizzle’ Syddall (01:19:20):
<laugh>. Well, everyone says that and they said they always have a lot of fun, so I hope you guys had the same thing. So

Mike Nason (01:19:25):
Yeah, well, you, you were, you asked me a while ago, but I, I, uh, chickened out, so yes,

Shane ‘Sizzle’ Syddall (01:19:31):
I remember that. And I thought I’d give you another try.

Mike Nason (01:19:33):
Yeah, thanks. Yeah,

Edmund Kearsley (01:19:36):
Good fun. And

Shane ‘Sizzle’ Syddall (01:19:39):
So I guess that’s the part where we say goodnight to everyone. Thank you to everyone who turned up and watched the show. Thank you to everyone who watches it in the future. Remember to like and subscribe. It helps us make more videos. And, um, yeah, see you next Thursday. See where this page takes us to the next page. Well

Edmund Kearsley (01:19:57):
Actually see you on Saturday.

Shane ‘Sizzle’ Syddall (01:19:59):
Oh, thank you. For moment. See you on Saturday. We’ve got a special show, a special, um, Australians abroad, the expat. So we’ve got someone from London, uh, is it London? Oh, we’ll just say UK because I dunno which he’s from. He’s in York. York. Okay. Uh, we’ve got a guy from the LA and another one from Singapore. All Australians out there living in other countries. Fantastic. We’re doing that Saturday, same time as this show, but Saturday. Yeah. Okay. So I pity the guy in La <laugh>. It’s one in the morning for him. Cool. Oh, see you Saturday. Not next week. See you all Saturday. Have a great one everyone. Okay. Bye bye. Thanks everyone. Bye.