Shane ‘Sizzle’ Syddall (00:02):
And welcome to another episode of, Hey, another episode of the Oz Comic Show. We’re here every Wednesday to talk to different creators from around Australia. This week we are talking to Chris Pitcan. Just before we go, sizzle, before we start,

Morgan ‘The’ Quaid (00:21):
Before you do that as well. Oh, you’re going to do that? Okay. You do that and I’ll do one after you go for it.

Shane ‘Sizzle’ Syddall (00:27):
Okay. I’m doing this one bin Kitty needs your love. It’s at, I think it’s 95%, so it just needs a little bit of love to get over the line. Go tobin kitty.com. X studio show that comic some love. It is awesome. It’s Duncan printed vicious art. It is amazing. Over to you.

Morgan ‘The’ Quaid (00:46):
I would show you my bin Kitty, but I haven’t got it yet. I got to wait for the campaign to finish to get it. Get in and back. That one I was just going to do the thing I don’t think we’ve ever done, but we need to apparently start doing Hey everybody, like and subscribe. Hit the bell.

Shane ‘Sizzle’ Syddall (01:01):
Oh yes. Like and

Morgan ‘The’ Quaid (01:02):
Subscribe so that you can get reminded of the thing, what the kids are doing and stuff like, and subscribe. That’s it. That’s all I was going to do. I’ll do a video next week or something. Yeah, yeah. So we don’t have to say it. All right. Let’s bring him on.

Shane ‘Sizzle’ Syddall (01:17):
Let’s bring him on. Let’s go to me actually going to the right screen.

Morgan ‘The’ Quaid (01:41):
Hey. Hey

Shane ‘Sizzle’ Syddall (01:43):
Elaine. Evening everyone. Hello, Chris.

Morgan ‘The’ Quaid (01:47):
Hello. Hello. Welcome Chris. Welcome to the Comex Show. Awesome. Fun times, Chris. Good to meet and so forth. Excellent. Thanks. Hey, look at that like a round. Welcome for everybody. Alright, well let’s get straight into it. Hat. Oh God, we’re all four hats tonight. Yes. Is that correct? Have a hat. It’s a hat. Have a hat. Go the hat. All right. Very good. It’s iconic. It’s part of the look. You have to curate a look. Well, it’s interesting that you say that because my first question we get really deep into it already is about the fashion. Now, I will admit, people may not think this looking at the way I present myself every week, but fashion is a bit of a mystery to me. I do not get it. I don’t understand it. I do not like it because I do not get it. And I’m the kind of man that will buy 50 shirts the same colour if they fit and they’re okay. So tell me about, because we know that you started in fashion to some degree, particular drawing. Tell us about your journey and where the artistic journey started for you.

Chris Pitcairn (02:58):
Yeah, so I mean, I did start in ion in clothing. I went to nida, national Institute of Dramatic Art, and I did the production design course there doing craftly, doing set design, prop design and costume design. And it was costume design that I already went there for. Growing up I’d always been interested in fashion and in designing clothes. My dad’s a goldsmith. He’s a, and where he worked in London, it was kind of like the artistic quarter of London. So you had all of the jewellers, you had all of the gold silversmiths, but you also had all of the fashion designers. All of the costume designers. So I remember when I was five, six years old, he took us over to one of the costume shops that does the West End. And me and my little brother got us cat costumes made by the costume designers who were working on cats.

Morgan ‘The’ Quaid (04:07):
Wow. Wow.

Chris Pitcairn (04:08):
When I last went over to London, I was fortunate enough to speak to one of the costume designers who was working on Hamilton, and I got to see those costumes being made. Oh, cool. So yeah, always had a massive interest and history with fashion. But yeah, after doing nida, I did costume design for 10 years, mostly doing indie stuff, a lot of musicals. I think the biggest thing I did was, again, when I went back to London, I did a charity show called West End Bears, which is a burlesque cabaret that raises money for HIV and AIDS medication and what’s the word I’m looking for? Research. So I’ve costumed a show that was in one of the big theatres on the West end. I’m quite pleased with that. But yeah, eventually I just kind of realised that I wasn’t really progressing in that area. I wasn’t getting any further than I’d got, and it would’ve been three or four years with me doing the same thing over and over and over again.

(05:24)
I was like, okay, this isn’t working and I’m not enjoying it as much as I used to. And then I was actually working on what is now my last show, and I got a call out of the blue from my dad going, oh, by the way, I’ve shown some of your drawings to Nicholas Scott, and she reckons you could be a comic book illustrator. I was like, and he was like, get into Sydney now. And it was quite early in the morning, I’d just been woken up. So I was like, okay. I was like, I recognise that name, why do I recognise that name? And half asleep, I was Googling, I was like, oh, that’s why I recognise that name. And just shut off into Sydney. And through Nicholas Scott, I got put in contact with Nicole Kane and did that first short project, the Circle with her. And yeah, I was about 10 pages in and I was just like, yep, this is it. This is what I’m meant to be doing. I feel like I can be really good at this. Yeah, yeah. She pointed me in the right direction and when that project finished, just, hello Dave. When that project finished, I just went back to Nicole and I was like, give me everything. Give me more, give me more to work on.

Morgan ‘The’ Quaid (07:07):
Okay. So when really young, really young, you dressed up for Christmas and those, or not Christmas, but for parties and those sort of things, were you into that sort of thing, designing your own stuff? At that age?

Chris Pitcairn (07:21):
I did have a box of costumes, but I tended not to dress up when other people were around. I was very, very shy. I was painfully shy and I was kind of like, if I’m wearing the outfits, then I’m going to do it by myself in my own time. They’re not for other people to come and have a look at me, but I like dressing other people up. It’s funny, you notice that with a lot of the big name fashion designers, there are a few that are quite well dressed themselves, but a lot of ’em, like the women who run Marchesa of fairly average dresses, Alexander McQueen was famously, honestly, his models would walk down these catwalks in these fantastic clothes and then he’d sort of shamble out in a tatty and a pair of jeans. So I think it’s true of a lot of designers and certainly going through NADA and being in the theatre space as well, it’s like we know how to dress ourselves up when we want to, but most of the time it’s like, no, no, no, we want the attention on someone else.

(08:37)
This is why we’re addressing other people. We don’t want the attention on us. And it’s like I feel like there’s a bit of a crossover with comics because a lot of the time the attention is not on me. It’s on the artwork and it’s on the writing rather. And it’s kind of its entity, which is how I like it. I get the accolades, but I’m also, I’m just over here enjoying the accolades but not actually having to do any kind of interaction. It’s nice I get to sort of sit behind the scenes a little bit

Morgan ‘The’ Quaid (09:11):
Most of the time. If we’re getting into the weird questions now, if you’re in a band with instrument, are you playing or I’m presuming you’re playing an instrument from what you’re saying, you’re not going to be upfront with just a mic. What would you be playing do you think?

Chris Pitcairn (09:29):
I’d probably be playing something like a keyboard or piano. Certainly in music classes it was the only instrument I could ever get the hang of.

Morgan ‘The’ Quaid (09:39):
And again,

Chris Pitcairn (09:41):
I ended up letting my fingers just remember stuff for me. I just learned which keys to hit and after that I could just not think about it. Yeah, piano and also because I get to hide behind something big that blocks me from view,

Morgan ‘The’ Quaid (09:59):
People just

Chris Pitcairn (09:59):
Getting the noise and they don’t see me

Morgan ‘The’ Quaid (10:02):
In most bands as well. Yeah, the keyboards or the piano is not going to be upfront and it’ll be a little bit in the shadows in the back. Yeah, good choice. Good choice. Yeah. And it’s a very common thing what you’re saying about there’s not too many of arts sociopaths who really want to be upfront and in everyone’s face and hey, look at me, I’m great and amazing and all that sort of stuff. You want to create the thing, you want to put your effort into the thing and you want people to look at the thing you’ve created, not you, which can be a bit tricky for promotion and all that sort of stuff. So what was it? Oh, sorry, you go. Sorry, I was cutting you off

Chris Pitcairn (10:55):
There. I was just going to say I feel like in a lot of ways, and I imagine it’s the same for a lot of artists, people looking at the thing is equivalent of them looking at me, so much of me in the thing

Morgan ‘The’ Quaid (11:09):
And looking at some of your artwork. So if you’re aware of the fashion connection, then immediately you can see it, you can absolutely see it with the poses and obviously what’s being worn and all the rest of it, and just that style. I haven’t seen a lot of fashion drawings, but they do have a certain way about them and you can definitely see that, which is good. It’s great as an artist of any sort to have a signature that people can Oh, I know who that is. That’s Chris. So when you started getting involved in comics, as you say, as soon as you’re 10 pages in or something and you think, Hey, this is amazing, this is what I want to do, what is the draw card? What’s the thing where that really does it for you that you love about it?

Chris Pitcairn (12:08):
I think part of it is that I like the act of telling stories. I’m not a very good writer though. Looking back, I have always dabbled in comic making. I’ve got, it’s not here, it’s at my parents’ house in a box. But one of my earliest sketchbooks I’ve got is 120 page sketchbook that is just a comic all the way through once, and that was from when I was 13. And it is split up into chapters and each chapter is about five pages long and there’s 10 panels on each page. So it is absolutely terrible, but

(12:55)
It’s kind of something I always kept coming back to. But because I really don’t like writing for ages, I never approached it a possible career. And it’s actually very much the same thing that I initially liked in costume design. It was that using visuals and using my abilities to tell stories and to evoke emotions, to put ideas across to get people’s think about things or feel things. I kind of feel like when I was doing theatre, I wanted you to be able to tell what a character’s story was. The second the actor walked out on stage, that was the aim that you could see what their story was just from what they were wearing.

Morgan ‘The’ Quaid (13:45):
Oh, cool.

Chris Pitcairn (13:46):
And it’s kind of the same with comics. My aim is always, this is going to sound awful, but to kind of make the writer redundant, you should be able to take the text out and still be able to read it and understand what’s going on just from what the drawings are. And it’s like one of my favourite pages that I did for Fox and Hound, which I think I sent you, is the four panel one, just these four panels going down of them after a traumatic event and they’re just kind of trying to get over it and deal with it. And it was very much inspired by this comic page from a night crawler comic. And they talk about it in the second X-Men film on the extras. And the page itself is after Mike Crawler disappears from the circus he was at, and it’s the two women who are part of his adopted family and they’ve realised he’s gone. They dunno where he is gone, but the entire page is just them reacting and there’s no text, but absolutely feel what’s going on. And it’s that kind of thing I really like doing and keep trying to do. And I feel like the reason comics was such a draw was because I got to do that to a greater extent than I could do in theatre. Cool. And plus I could do it all without leaving the desk. I didn’t have to. We’ll show people

Morgan ‘The’ Quaid (15:21):
What you’re talking about because I think I know the picture you mean.

Chris Pitcairn (15:24):
Yeah, yeah. That’s the one.

Morgan ‘The’ Quaid (15:26):
Yeah. Yeah. I’m a big fan of having pages that don’t have lettering on them and that particularly when there’s an emotional component or a really strong message that you need to get across and yet words sometimes just get in the way. It’s interesting what you’re saying about the costume design side of things as well and how when a character walks out, you want people to be able to immediately sort of, there’s a thing with I suppose set design or narrative theory or all that sort of stuff as well. Nerd alert if we need to do a nerd alert, there’s this whole thing about certain, in folk tales and biblical stories and those sorts of things, there’s this idea of spaces or areas that are negative or positive spaces. So certain things that happen in certain areas are bad and other areas are good, other areas of social. So it’s almost like once the stage is set and characters come on, something bad’s going to happen because the set is already telling you and the same sort of thing with characters coming in. And so I suppose in the comic sense, the use of colours and movement and shape and all that sort of stuff can send a lot of signals, I guess, to a reader before a word is even spoken. Yeah,

Chris Pitcairn (16:47):
A hundred percent.

Morgan ‘The’ Quaid (16:49):
I suppose my question is have you used that to fool a reader or have you thought about,

Chris Pitcairn (17:00):
There have been kind of hints, but admittedly it tends to be kind of more,

(17:14)
I dunno. I think a lot of the times I’m just a bit little bit too subtle for my own good. I put this thing in there, Hey, wait, turn, I put a hint there or a little visual cue here, but it’s so subtle or it’s minuscule or it doesn’t mean anything until after you’ve finished reading it that it’s kind of, a lot of the time it’s just for my own enjoyment rather than anything of me trying to, I guess deliberately mislead people. I think another thing as well is because I’m not the writer and because most of the stuff is I do is on a prolonged series, I don’t get the scripts too far in advance. So while I’m working on one script, Nick will kind of go, oh, this needs to be here and this needs to be here and you need to include this bit here and this needs to be this colour. And she’ll give me a couple of notes of things that have to be in the comics somewhere and I’ll just kind of go, okay, I’ve no idea why I’ve not been told. And it’s like there have been things like I’ve put something in issue three and then in issue four I’m like, oh, that’s why.

Morgan ‘The’ Quaid (18:31):
Right. Okay, cool.

Chris Pitcairn (18:35):
With that sort of thing, it’s very much led by Nicole because she’s the one who’s got the whole picture. She’s the one that’s looking at the big picture and I’m kind of getting drip fed, which is I,

Morgan ‘The’ Quaid (18:57):
I think I’ve still got

Chris Pitcairn (19:02):
By all means peek away if there’s nothing in there, but pretty dresses and fluff.

Morgan ‘The’ Quaid (19:09):
That’s it.

Chris Pitcairn (19:12):
Occasionally men in leather GST strings, but

Morgan ‘The’ Quaid (19:17):
If you peak real deep, if you just get,

Chris Pitcairn (19:20):
Yeah, they’re in there somewhere. But yeah, I mean admittedly I do prefer it that way because I think with health courses, because it’s a self-contained thing, and Nick and I spent so much time doing research that partly just out of timing because after I did that first comic the Circle, I actually had another show that I had to work on to do costumes for. So it meant I wasn’t able to do any comic work for about four or five months. So we used that time and any time off I had was, yeah, it is ideal brain space, but

(20:06)
Any time off we had was just doing research, doing practise. So because of that there was so much stuff that we kind of collated that I ended up putting in. All of the references are really, really specific and probably most of them are the kind of things like you’d only notice if I actually sat down and told you, oh, this is what this means. The patterns on kus, kimono change, depending on what her mood is and what those patterns are, reference things in Japanese folklore and Shinto mythology. So there are also things like the colour of her skin. The idea is she’s so white and it’s because of her interaction with the Ani King, and this was kind of referenced then later when another character gets interacted with by the Ani and their skin goes white in the same way that kus does, and when they kind of recover their skin stays this really ghostly white colour, but it’s like it’s not explicit in the text, nothing really refers to it.

(21:20)
It was just, oh, that’s how we’re going to link that together, that this character has that effect on people. And it’s that thing of you won’t notice it, but your brain will, your subconscious will pick up on the stuff. And that’s cool. There’s going back to design, there’s this great bit on the extras for the most recent Chronicles of Narnia films where they talk about the design and about how there’s hand carved tables and beds and all this kind of stuff that are just intense and the camera’s never going to see them, but you’d notice if they weren’t there, you’d notice if something was empty on the Lord of the rooms. They talk about how the armour has engraving and etching on the inside and it’s like that’s up against someone’s chest. No one sees that. No one’s going to the only person who sees that is the actor and the dresses. But if it’s not there, if that kind of thought and care and detail isn’t put in, you notice it.

(22:27)
And I know whenever I look back on my own work and the worst time is when I go could have put in a little bit more effort and looking back at health courses then is great because I feel like even though there are things there that I go, oh, that’s a bit dodgy or that’s something I’ve got better at for where I was at the time, I’m so pleased with how it came out. I feel like I tried my hardest and I did the best I could. And there are other times where I look at stuff and I go, oh, that page. I can tell I was a little bit lazy that day and it’s disappointing. I feel like I could have done better if I just pulled my socks up and that’s the worst feeling.

Morgan ‘The’ Quaid (23:13):
So I’m sensing a little bit of the perfectionist in there. Would I be right in that

Chris Pitcairn (23:19):
I do have a rule that once a project is done, I don’t look at it for two months.

Morgan ‘The’ Quaid (23:26):
That’s a good rule. That’s a very rule.

Chris Pitcairn (23:28):
I look at it immediately, I just pull it apart. I just tear it to pieces. Yeah, yeah. It’s that thing of with time, it allows me to, yeah. Yeah, it doesn’t. I think of stuff like when I was doing costuming and I’d be fine. Yes, they are amazing. I’ve also seen some in the exhibits, they’re brilliant. The amount of detail is stunning. But even with doing costuming, I was fine all the way from production to tech, but the second we hit opening night, I just sit in the theatre like this. I just couldn’t better look at what I’d done because all I would do is go, that’s wrong, that’s wrong, that’s wrong. That needs to be fixed and just want to pull it all apart. And I did exactly the same thing with Circle. I saw it in the print when I did Circle four weeks before it premiered at, I think it was Supernova 2019. Yeah, it was literally, I met Nicole, she was like, here’s the story we’re going to try with you. And I was like, okay, great. Give me a deadline or else I won’t do it.

(25:00)
And that’s the thing I always say as well is give me deadlines because otherwise it’s just going to sit on my desk and never get done because everything else will get in front of it. But she was like, it’s 10 pages, do you reckon you could do it in three weeks? And I was like, yep, I can do that. So I sat down, banged it out in three weeks and saw it printed and immediately hosted it. I was looking through it and going, this is wrong, this is wrong, this is wrong. Why didn’t I do this? Why didn’t I do this? And I did. The funny thing is exactly the same thing happened on Help Cor, but I was really lucky in that it happened about halfway through.

(25:44)
I’d done all of my rough pages, I’d done all of my thumbnails for all a hundred pages and I was just starting to do the inks and I can’t remember what it was. I think I read something and I think it was after we went to the exhibition that was on in Sydney and I was starting to work on the inks and I was kind of going, I feel like now that I’ve done these thumbnails, I feel like I actually know how it should be done now, but I guess I’ll just have to carry on. And then I stopped and I go, hang on, it’s not finished. I can go back and change it. And I sent a slightly frantic message to Nicole going, listen, do you trust me because I’m going to change everything. Nothing we’ve seen before seen is relevant anymore. But the thing is, I did five or six pages to and said, okay, this is what the thumbnail looked like.

(26:46)
This is what the rough version looked like, and this is what it looks like now. Do you trust me to make these changes? And she was like, yeah, go for it. If she hadn’t, it would’ve, the whole process would’ve probably taken another month or so just to go back and make all those changes and do all that working out. But yeah, it was like this moment of going, oh, come on, idiot. You’re not finished yet. You can go back and make those fixes and do it properly in the way you want it to. Whereas usually it is that thing of you kind are so inside a project that until it’s actually finished, you don’t get a chance to sit back and go and look at it critically. And that’s when you see all those mistakes.

Morgan ‘The’ Quaid (27:36):
Yeah. That’s why you just got to keep on going. Never look back.

Chris Pitcairn (27:40):
How do I feel about Circle? There is one page I still, there is one page I still feel I did really well on and if I did it again, I wouldn’t change. I wouldn’t change how that page looks at all. I’d mean I’d draw it better, but I’d use exactly the same layout. Everything else would need to be different now just because I’ve got a much better idea of what my style is, of what my stamp is, but also just in terms of that city is terribly drawn. These objects are terribly drawn. But at the same time, I feel like there are certain things that I did do well. I feel like considering my struggle with colour a lot. Yeah, don’t never look back. There was actually, I can’t remember which artist it was. There was a great piece of advice that I remembered reading, which was never redo your old work because you just end up stuck in a loop because by the time you finished redoing it, you’ll have learned that little bit more and you’ll be better and you’ll want to go back and redo it all over again.

(28:58)
You’ll just get stuck in that cycle. You’ve just let it sit and let it be its own thing. And just that’s where I was at that time. It might not be great compared to where I’m now, but like I said, I think as long as you tried your hardest at the time and put in the effort that you felt was necessary, and that’s why I was saying that feeling is the worst feeling of looking back at something and going, I didn’t put in the effort because it’s not just, I’ve gotten better since then. It is looking back and going, I was better than that at the time and I didn’t put in the effort. And that’s kind of where I feel like, okay, that’s not good enough. That’s not up to scratch. You have to try and do the best you can do at the time or at least that’s what I

Morgan ‘The’ Quaid (29:51):
Think. I like that there is, I can’t remember who said it, someone good in terms of writing and novel writing and everything, and they were sort of saying, if you’re starting off on lots of stuff, you won’t know what you’re doing until you hit your 15th or 16th novel, which is many, many words. And they’ve kind of said, you’ve got to get this rubbish stuff out of the way early as well to practise and learn and all of that sort of stuff. And like you say, if you’re going back, yes, you’re going to improve a little bit more every time, but you’re still stuck there whereas you want to keep moving and it’s good, really good advice. Plus that feeling of, like you say, when you look back on something and you think, ah, here’s the 15,000 things I could change if I was doing it now.

(30:41)
Yeah. I wanted to ask you about the, so a little while ago we were talking about the attention to detail. You’re paying in not just the costumes but even skin as part, skin colour as part of a costume and all of this intention around how these things are designed. And you were talking about how there’s things that are designed on a set that aren’t, no one’s going to see it except the actor. That’s a really cool idea though in a comic because it’s almost like you are building the set and the costume for the actor to help them even though they’re not real, but they are. And I suppose in our minds as a reader, it sets them in. It’s a realistic world that they would live in and that they would inhabit. And so like you say, even though most of us are probably not going to pick that stuff up, it still has an impact on how we read and it’s very, very cool and it makes me criticise my own stuff and I’m going to have to talk to my artist and stuff. Yeah, it’s really, really cool.

Chris Pitcairn (31:48):
I mean, I feel like half the time for me it’s stuff that just lives in my head again, just because I have more of an expertise in costume, but at any given time I know exactly how many layers someone’s wearing. I know I know what their underwear looks like. I know if they’re wearing a coat, I know what clothes they’ve gotten under there. Part of that is for me because I feel like when I know that information, I know how to draw it because what you’re wearing underneath will inevitably change how the clothes on top are going to sit.

(32:28)
If someone’s wearing a top and they’ve got a bra underneath, it’s going to sit very differently to if they’re not wearing a bra because their chest is going to be flatter, it is going to be a different shape. The fabric isn’t is going to be looser. Part of that is knowledge of, again, three years of historical fashion education. Looking at roughly, I think we did something like 500 years of close work on fashion. So it does make you cognizant of clothes only keep those shapes because of what they’re wearing underneath. It’s like when the beauty, most recent Beauty and the Beast film came out with Emma Watson, is that her name, and she made a big fuss about how she wasn’t wearing a corset under her dress. And I was just like, how dare you, because that dress is not going to sit properly. The clothes are specifically designed for that kind of structure and they need that kind of structure to look good. And so when I’m seeing it in cinema, I’m like, you get the shape of her bust and it kind of tucks in and then you get her tummy and it’s like, that’s because it’s not got a corset underneath, it’s because it’s not structured properly. And it was the whole thing of, oh, it’s supposed to be like a statement and it’s like it is just burning brass. It’s like corsets are fine if you wear them properly.

(34:10)
Sorry, slight sidetrack about corry because I have feelings about it, but it’s that kind of thing. It’s like thinking about how courses and with the kimono that get worn a lot of the time in particularly western art of kimono, you often see they’ve all got these hourglass shapes still, and that’s completely incorrect. Kimono are incredibly padded and they’re designed to be very much like a column. They’re very straight up and down. And so there’s kimono tend to be made to a set length. They’re all made out of singular strips that are all identical in width. They’re just cut to different lengths. Kimono tend to be kind of one size fits all, and what you do is you roll the fabric up and that’s padded under the ob, which then gives it that cylindrical shape. So there’s all of this padding underneath. There’s layers of fabric, there’s layers of silk, there’s loads of brocade.

(35:14)
And although in the comic you only see that top layer, I kind of feel like because I know about all those other layers, I know how these clothes are constructed and how they’re worn. It kind of allows me to go, okay, that curvy shape, that’s incorrect. That’s not how the fabric sits, that’s not how it’s worn this much more straight up and down shape how it should be worn, which is why it’s then so important and such a transition when ku, the character herself doesn’t do that when she wears it really loosely and sloppily and it is cinched in tight when she does that, it’s deliberate and it’s a deliberate way of her standing out. And it’s kind of a way of her going, I can be the worst dressed person in the room and you are still going to look at me. You’re still going to pay attention to me and I’m still going to be centre of attention because that’s just how good I am. I don’t need to make an effort. And that was kind of my way of getting that element of her character across through what she was wearing and how she was wearing it compared to how everyone else was wearing it of how correctly she dressed. And I do similar things with Fox and Hound as well.

Morgan ‘The’ Quaid (36:31):
I was going to say we’ve got a picture of, is that the one that we’ve got sizzle? It would be good to see some of the artists as you’re talking about it as well. We might get the wrong one though.

Chris Pitcairn (36:45):
I’m not sure which one

Morgan ‘The’ Quaid (36:46):
To grab. Actually.

Chris Pitcairn (36:48):
Well throw. Yeah, so

Morgan ‘The’ Quaid (36:53):
Sorry, let’s go. I mean

Chris Pitcairn (36:54):
That is correct because it’s like you see how her robe is worn really loosely. It’s just lightly tied around her waist. Admittedly, it’s kind of hard to see that because her arms are covering it, but she’s got no layers under that. She’s just wearing that top layer and the sash. Whereas in the other picture, you can see she’s got the underlayer of the kimono. There would be kind of like a chamise under there. The Obi, the band that goes around the middle has several layers of fabric. It’s tied specifically for her station and her job. So Iran, which is what KU is wore, that OB tied at the front. And because she’s a higher class Iran, she wears it very loosely and very long.

(37:57)
So in those images, her G are a bit more structured and a bit more tight and give her a bit more of a cylindrical shape. There’s also a scene later on, I don’t think I sent the picture of it, where she goes out on the town and she’s just dressed in a normal kimono and she’s not on the job. And I showed that by how straight the kimono is, the fact that the Obie is tied at the back instead of the front, which tells people that she’s not available for business and how structured and how covered up everything is. And the looser her garments are, the more she’s trying to show off the more skin you’re going to see. And I do the same thing on Fox and Hound. When I started that, I was terrified starting Fox and Hound just because the previous artist, I thought his work is so iconic and has such a distinct style to it.

(39:08)
I was like, I’m never going to get that. So what is it that I can bring to the table? And flicking through his work, I was kind of like, okay, I’ll bring some of my costume knowledge. Because what I did see and what I could critique of his work was that the two main characters didn’t really have their own style beyond their superhero costumes when they were just kind of sitting around at home casually. They were dressed in an identical singlet and underwear. There was no real difference between them. I was like, okay, how can I bring in a bit of their own character? How can I bring in that individuality through what they’re wearing? And so Fox, who’s a bit louder and a bit brasher and a bit more of a goofball, her clothes are very bright, they’re often very clashing. She wears lots of bright reds, bright golds, but also everything about her is really strap.

(40:12)
And she shows a lot of skin in the third issue where they go to Russia, she wears this amazing fur coat, but it only goes down to the very, it’s thigh length and she’s wearing nothing underneath it, but a pair of stockings. And it’s like she’s brazen. She’s that kind of out there and loud and look at me, look at me, look at me. Whereas hound by example, when I think of her, she’s the kind of woman who can be fully dressed and still make you blush just by how sleek and elegant her clothes are. So she’s more covered up, but all of her clothes are incredibly fitted. They’re more muted colours, but they’re also incredibly flattering. And so they pull a lot of attention to the skin you can see. And so it’s like her taking her shoes off is as much titillation as Fox getting her tits out.

(41:19)
And it’s that kind of thing of thinking about layering. And I do do it as well in the sets. There are certain objects where I kind of go again with Foxen Hound. There’s a character who’s introduced in the third issue called mx. And you see parts of her apartment. And I kind of wanted it to be the sort of place where she only kind of unveiled herself bit by bit through her surroundings. So when you first go in there, it’s very much like an office space and it’s very impersonal. There’s very little of herself except these few little trinkets. So it’s like the walls are very beige. There’s not much in the room. It’s very sparse. It’s very stark. And this actually came from Nicole, but there’s this ornate Samovar, which is a Russian tea set, and I dunno if you’ve ever seen a Samovar, but it looks almost like a hooker pipe.

(42:26)
It’s this big towering teapot teapots. They’re huge. And it’s this big silver thing and it’s really ornate and kind of almost garish in how glitzy it is. And then when you go back there in the next issue, she’s got these massive shades lounges that she’s bought in and they’re covered in gold cushions. And it’s kind of that this is a woman who likes living in luxury, but she has a professional persona. And whenever you see her, that’s the first thing you see. And it does follow through in her clothes. Her clothes are very military, they’re very structured, but when she turns around, they’re kind of saucy. So the first outfit she wears from the front is this very structured military outfit. And then from the back, this long pencil skirt is completely slit up the back. So you can see her legs all the way up to her backside, but you only see it when she turns around and she won’t turn around until she’s comfortable. And so it’s kind of like, again, no, I think it was actually Nicola I was talking to on that first meeting about doing background, and I think it was her that said, treat the background like a character and as an extension of character. Okay,

Shane ‘Sizzle’ Syddall (43:57):
Cool.

Chris Pitcairn (43:58):
So a person’s space should reflect who lives there.

Shane ‘Sizzle’ Syddall (44:07):
I’ve got a question for you. I’ll just whip this up before we run out of time.

Chris Pitcairn (44:13):
How long does it take? Oh gosh. How

Shane ‘Sizzle’ Syddall (44:16):
Long is a piece of string?

Chris Pitcairn (44:18):
Yeah, it’s tricky because I tend to do it all in blocks. So I do all of the pencils in one go. I do all the inks in one go, and then I do all the colours in one go. I could probably pump out a full page a day. Oh

Morgan ‘The’ Quaid (44:41):
Wow.

Chris Pitcairn (44:44):
Inking. Depending on how complicated the page is, it’ll be anywhere between two to four pages a day. I mean doing pencils, because Nick and I have now worked together for as long as we have, and we have kind of an understanding. My pencils are very sparse. There’s very little detail on ’em. So I generally do about 10 a day of those with colours probably around when I’m focusing on them. Probably around three pages a day. Three to four pages a day. Yeah. I have no idea what other people’s work process is like. So I have no idea if that’s fast or slow.

Morgan ‘The’ Quaid (45:42):
Treat it that it’s fast. If you think that’s good or it’s slow. If you think that’s better, people will say, well, you haven’t taken enough time. If you’re too quick, it’s too cheap, it’s too quick for you, it’s good. So first of all, thank you because this is a very deep look at an area that we have just not explored on this show yet at all. It’s awesome. It makes me think we need you to costume design for us and maybe one show in the future where we can show up wearing something that’s actually good.

Chris Pitcairn (46:17):
I’ll tell you what to wear, you’ll have to go, but I’ll tell you what to wear.

Morgan ‘The’ Quaid (46:21):
That’d be great. Other, so couple of questions, and I’ve been going around it in my head, but I think, no, I’ll just ask it the way I was going to ask it. You might have to, so pick a character, pick one of the characters you’ve drawn. You could go Fox and Hound, or you could go more cortisone if you’re wanting to be a bit more spicy. But the Red Rooster, you’re in the car, we’re going to Red Rooster this week, we’re going to Red Rooster this week. You’re in the car, you have a protagonist of some kind in the back. You’re driving through, what are they wearing? What are they ordering? I don’t even know what your water from Red Rooster anymore, but anyway, I’m not even sure either. Good luck with that one. So what are they wearing and what are they ordering and who are they as well? That’s tricky. Sorry, I just saw one of the comments from Jamie. I’ll share that one. Yes,

Chris Pitcairn (47:27):
Do it. Oh, that’s tricky. See, part of this is that I eat very little junk food and I don’t think I’ve ordered much from red rice there before, but if it was in the modern day, it would probably be KU in the back. I know she’d order a lot. She’d look at the menu. She wouldn’t care what it tasted like. She’d order the most expensive thing there,

Morgan ‘The’ Quaid (48:07):
Right?

Chris Pitcairn (48:09):
Absolutely. And then she’d go home and not eat it. She’d eat a chip because she’s a hundred percent about the look. She’s like, and it’s not even about the food. It’s like, I’m going to spend the most money I can.

Morgan ‘The’ Quaid (48:26):
Yeah.

Chris Pitcairn (48:33):
Do red roaster, do roast chicken? I think they do actual roast chicken. It would probably be something like that rather than a burger. I don’t think do a burger. I think she’s a bit more high class than that, but she’d order something really expensive. She’d probably be wearing, she’d definitely be wearing something. Designer. She’d definitely be wearing a dress and heels. She wouldn’t be wearing trousers. She’d also probably be wearing a coat probably with some sort of fur trim. There’d be probably diamondes or something on it. There’d be gemstones, so it would glitter a little bit. I imagine she’d have short hair if it was modern, she’d have kind of shoulder length hair, big earrings, very fancy boots. Probably suede because with suede you can’t get it wet or else it gets damaged. It’d be really expensive. Suede. Yeah. And something silk. That’s

Morgan ‘The’ Quaid (49:48):
Awesome.

Chris Pitcairn (49:49):
Silk dress. Yes. And she’d order the most expensive thing on the menu and not eat it.

Morgan ‘The’ Quaid (49:55):
And not eat it. Nice. I like that. That is the most comprehensive and interesting answer we’ve had to that question so far. And the final question before we get to the gifts, the giving of gifts, the gifts, the giving of gifts is at the moment, so not of all time, but at the moment, what are you eating while you’re watching? What favourite film or what would you be eating and watching? What would that combination look like?

Chris Pitcairn (50:24):
Eating is pretty easy. Chocolate. I’m a massive C,

Shane ‘Sizzle’ Syddall (50:28):
Excellent choice. Sizzle approves

Chris Pitcairn (50:34):
Like chocolate cake or chocolate pudding or just a big bar of dairy milk or lint or I could go on. I like chocolate.

Shane ‘Sizzle’ Syddall (50:47):
You make me hungry.

Chris Pitcairn (50:48):
Stop it. At the moment, I think my favourite film is still the 2020 version of Emma, which has bugger. What’s her name? She’s really big at the moment. She was magic in New Mutants. What’s her name? What’s her name? Oh

Shane ‘Sizzle’ Syddall (51:13):
Yeah. I can’t remember. You’re talking about, yes.

Chris Pitcairn (51:18):
I’ll have to look her up. But it’s Emma.

Shane ‘Sizzle’ Syddall (51:23):
That’s what previews for that, but I never saw it. I’ll have to watch it now. No, it’s your favourite.

Chris Pitcairn (51:28):
It’s

(51:31)
Taylor Joy. That’s it. Any Taylor Joy? Funnily enough, a lot of my favourite movies, I didn’t like it the first time I watched it. It was actually the last thing I saw in a cinema. Before Covid hit. I went with my mom. It was just me and her in the theatre, no one else. And the first time I watched it, I was like, I really like the costumes. And that was mainly why I went, because it’s a period costume drama. It’s Jane Austen. And I was like, I really like the costumes. Didn’t much like the script. I didn’t like the character at all. And then about six months later, I was like, you know what? I’m going to give this another go. And I watched it again and I just absolutely fell in love with it. It’s like watching a moving painting. It’s such a beautiful film.

(52:31)
I mean, I’m a costume designer because that’s all I talk about, but the costumes are absolutely exquisite. The layering, the fabric choices, the colours, the textures, that all just brilliant. And it was a joy to watch as a costume student because I would look at something like, I’ve seen the fashion plate, I’ve seen the fashion plate from 1816 that that’s based on, I know exactly what outfit that is, but it is also as a piece about those characters. It was one that on rewatch, I had so much more sympathy for Emma as a character. I understood that character so much more. And just kind of seeing how she stumbles and falls and has this massive amount of arrogance and then learns to get over that and grow from it. It’s very real in a way because when you do encounter people with that kind of level of arrogance, it’s really difficult for them to get over because you have to learn to have some self-deprecation, and you have to think of yourself critically. And if all you’ve done so far is be told that you’re brilliant and amazing and perfect, it’s really difficult to do.

(54:05)
And so kind of seeing that depicted realistically is great. It is a film to watch a couple of times. Like I said, didn’t like it at first, but really love it. Now I, I’ve just seen Zach’s question. Oh,

Shane ‘Sizzle’ Syddall (54:20):
I saw Zach’s comment.

Morgan ‘The’ Quaid (54:22):
Might as well. Do you want to bring that one up? Do

Shane ‘Sizzle’ Syddall (54:25):
You want me to bring it up? Okay.

Morgan ‘The’ Quaid (54:27):
Yeah. We’ll have to be quick though because we’re chewing through time.

Chris Pitcairn (54:32):
I like it. It’s good. I think it says a lot about her character. There are certain things I kind of look at and go, is that period accurate? But admittedly, I don’t know enough about the period to know that there are some things I look at and go, she would be very chilly with her legs out like that. But I think the most important thing about a costume is first and foremost, it has to inform you about the character. And hers does that. So I think that’s what makes a good costume design.

Morgan ‘The’ Quaid (55:09):
Cool. Cool. Very good time.

Shane ‘Sizzle’ Syddall (55:12):
I’m excited. All

Morgan ‘The’ Quaid (55:12):
Right. Gift time.

Shane ‘Sizzle’ Syddall (55:14):
Gift time. Here we

Morgan ‘The’ Quaid (55:15):
Go. And apologies in advance. Oh God. I’ll just say when mine comes up that I was far more focused on the costume than the face

Chris Pitcairn (55:29):
To be fair. So am I.

Morgan ‘The’ Quaid (55:30):
Yeah, you’ll see. We’ll bring those

Shane ‘Sizzle’ Syddall (55:32):
Up first then Morgan, since we’re talking about it.

Morgan ‘The’ Quaid (55:34):
All right. And apologies to everyone in the world for this one.

Chris Pitcairn (55:38):
Nice. Amazing.

Morgan ‘The’ Quaid (55:40):
Awesome. Yeah, so you can see the one I was trying to do, except in this one. She’s a not very good ninja man, dressed like a woman. It’s the one where she’s reclining and smoking and all that sort of stuff, and they’re not spiders, they’re flowers. But anyway,

Chris Pitcairn (56:00):
Spider lily.

Morgan ‘The’ Quaid (56:02):
Yeah. Yeah. Well, there you go. And now look at this one. This one’s impressive.

Shane ‘Sizzle’ Syddall (56:08):
It’s not impressive. I just got a little bit, I went through your Instagram, got a bit inspired. There was a lot of Mer and Mermaid ladies. Mermaid went with the

Chris Pitcairn (56:18):
Mermaid. Nice.

Morgan ‘The’ Quaid (56:19):
See the

Chris Pitcairn (56:21):
Mermaid love

Shane ‘Sizzle’ Syddall (56:22):
It. And the flower is because on drink and draw, you always draw some really nice pretty pattern. So I had to put something other than just her there, so I drew a flour.

Morgan ‘The’ Quaid (56:32):
Yeah,

Chris Pitcairn (56:34):
It’s funny. In preparation for this, I’ve got three post-It notes that list artists. I don’t think you’ll be able to see it because the light,

Shane ‘Sizzle’ Syddall (56:46):
Oh,

Morgan ‘The’ Quaid (56:47):
Hang on. Oh, wow. Just

Chris Pitcairn (56:49):
All the artists that I reference,

Morgan ‘The’ Quaid (56:53):
Just in

Chris Pitcairn (56:53):
Case I got asked about it, because I’m a neurotic banana.

Morgan ‘The’ Quaid (56:58):
You’re assuming way more knowledge on our part. Absolutely.

Chris Pitcairn (57:04):
There we go. But yeah, I do like my art Novo. I do like my Japanese artists and my Japanese Princeton. There is a lot of floral designs, so I do that a lot. I like drawing flowers.

Morgan ‘The’ Quaid (57:19):
And we didn’t get to say it, but I just want to very quickly and there’s a lot of other art that people need to check out. But I mean, just the colour depth, that’s amazing and depth and yeah, I’ve just so it’s wonderful. It’s wonderful to drink something like that in. So thank you for Yeah,

Chris Pitcairn (57:46):
I’m glad that people liked it as much as they did. I’m glad that it got the response. It did. I mean, I tried to put that much effort in everything I do. But yeah, health cor was special. That was essentially eight months in the making, and Nick and I put so much work into it. But yeah, thank you. And thank you to everyone who does enjoy my work, and I guess I just keep trying to get better and keep plugging along.

Morgan ‘The’ Quaid (58:22):
Speaking of plugging

Shane ‘Sizzle’ Syddall (58:23):
For doing the work for us to enjoy.

Morgan ‘The’ Quaid (58:27):
Indeed. Indeed. And is there a specific site where people can go to find you, find your at and such?

Chris Pitcairn (58:36):
I mean, probably the best place to go is Instagram. It’s probably easier if I put the link in the comments or something. But I’m at Frozen Vpa, V-E-P-A-R. There is a reason, a story behind that name, but we’re running out of time, so I won’t get into it. But yeah, Instagram, frozen Vipa, that’s probably the best place to find me. I’m also on Twitter as Chris P draws, but that’s quite new and there’s not as much up there, but I’m essentially aiming to have all the stuff that’s up on Twitter, also up on Instagram, also up on Twitter, so they’ll kind of run simultaneously, hopefully. But yeah, that’s kind of where to find me and to find stuff that I’m working on. I’m currently working with both Nicole, who’s at NSK Comics and sk, who’s a Sigma Studio, I believe. So they’re the places to check out the actual comic stuff I’m working on.

Morgan ‘The’ Quaid (59:51):
Cool. Fantastic.

Shane ‘Sizzle’ Syddall (59:53):
Thanks,

Morgan ‘The’ Quaid (59:53):
Chris. Thank you, sir. It’s been a pleasure. It’s been wonderful chatting with you and illuminating. Yeah. Wonderful. Wonderful.

Chris Pitcairn (01:00:01):
Thank you very much. Thank you for having me. And thank you for your artwork. They’re amazing. You’ll have to send me the proper versions. I’ll print them out and put them up on the wall.

Shane ‘Sizzle’ Syddall (01:00:12):
Oh, no, no, you are getting the original from me because mine’s on paper.

Chris Pitcairn (01:00:15):
Oh, amazing. Well,

Morgan ‘The’ Quaid (01:00:17):
Mine’s on paper, but it’s It’s in a book.

Chris Pitcairn (01:00:25):
It’s in a book. Yeah. Don’t rip out the book pages. That’s terrible.

Morgan ‘The’ Quaid (01:00:31):
I have a book that they all go in.

Shane ‘Sizzle’ Syddall (01:00:35):
Oh, option off for the highest bidder

Morgan ‘The’ Quaid (01:00:37):
One day. One day. Cool. All right. Thank you, sir.

Shane ‘Sizzle’ Syddall (01:00:43):
Thank you very much. Chris, when I let you out, could you write some of those things in the private chat and I’ll share them at the end of the show?

Chris Pitcairn (01:00:51):
Yep.

Shane ‘Sizzle’ Syddall (01:00:52):
Cool. Thank you very much. It was great chatting with you. We’re definitely going to have to have it on you again so we can get some more info out of you. And I look forward to that. And yeah, it’s next time for our next section, so see you later, Chris.

Chris Pitcairn (01:01:05):
Bye.

Shane ‘Sizzle’ Syddall (01:01:18):
That was awesome.

Morgan ‘The’ Quaid (01:01:20):
That was great. I like learning things and I like learning things from people that are passionate about stuff that they love.

Shane ‘Sizzle’ Syddall (01:01:27):
And I apologise to everyone for this.

Morgan ‘The’ Quaid (01:01:33):
What was that?

Shane ‘Sizzle’ Syddall (01:01:34):
That’s what I was doing for most of it.

Morgan ‘The’ Quaid (01:01:37):
Oh, okay. I

Shane ‘Sizzle’ Syddall (01:01:38):
Was so enthralled with everything that Chris was saying.

Morgan ‘The’ Quaid (01:01:41):
I just saw your normal face.

Shane ‘Sizzle’ Syddall (01:01:43):
I look up at the screen and notice myself doing that.

Morgan ‘The’ Quaid (01:01:46):
That’s right. I’m doing this thing. Mumble, mumble, mumble, mumble, mumble, mumble my face. What do you do with your hands anyway? You’re on a podcast. All right. Do you want me to go first?

Shane ‘Sizzle’ Syddall (01:01:57):
You go first. You go first.

Morgan ‘The’ Quaid (01:01:58):
For what I redid this week, so this week now, I picked this up from a convention when they were still happening before the Covid and such.

Shane ‘Sizzle’ Syddall (01:02:08):
Oh, nice. I’ve heard about this one.

Morgan ‘The’ Quaid (01:02:10):
Yeah, don’t have it. Apologies if I’m pronouncing it wrong. But Paul Doe I presume. Really cool. I’m going to show you that there is some language in there, so I’m not going to show you everything, but it’s black and white. It’s really cool, really stylized kind of art style. There’s a bunch of these. There’s about six, I think six issues. It’s called Machine Land, and it’s basically a kind of really quirky, dark look at a young guy that dies and wakes up in a kind of weird, twisted limbo world between the afterlife and life. Really strange, kind of almost like a twisted Mad Hatter. Who’s the girl that goes down the hole?

Shane ‘Sizzle’ Syddall (01:03:07):
Alice in Wonderland. Are you talking

Morgan ‘The’ Quaid (01:03:08):
Alice in Wonderland? It’s like a Twisted Alice in Wonderland. Sorry. I dunno what’s going on brain at the moment. So it’s like that and some of the characters

Shane ‘Sizzle’ Syddall (01:03:17):
You forgot.

Morgan ‘The’ Quaid (01:03:19):
Yeah, really cool, really cool read, really funny and really well written as well. Sometimes with this sort of stuff, you expect it to just be out there and not really have much substance, but there’s, it’s really funny, but it’s also just really well written and the artwork is amazing. So I think Machine Head, if you search machine head, there is a link on the back of the thing in Facebook to destroy your head on Facebook. So I’m not sure if that’s still around, but yeah, definitely worth it. It’s a pity that I could only get that at the con and then didn’t go to one for two years. But yeah, that was cool. That was really, really cool. That was my read this week

Shane ‘Sizzle’ Syddall (01:04:00):
And mine, oh, hang on. It’s still in plastic because I put it away after I read it. I shouldn’t have done that.

Morgan ‘The’ Quaid (01:04:06):
Oh, I know what that is.

Shane ‘Sizzle’ Syddall (01:04:08):
This one was a lot of fun. I got this from a Kickstarter. Let’s see if I can put on the right angle.

Morgan ‘The’ Quaid (01:04:13):
Yeah, abarition. The Abarition Tion. That looks like a halftone

Shane ‘Sizzle’ Syddall (01:04:18):
From Halftone. Is it Productions?

Morgan ‘The’ Quaid (01:04:21):
Yeah.

Shane ‘Sizzle’ Syddall (01:04:22):
Yeah. Sorry. I always forget that it’s a parody. How do I know that? It says so at the bottom of almost every page.

Morgan ‘The’ Quaid (01:04:34):
It’s a parody for legal reasons. It’s a parody for

Shane ‘Sizzle’ Syddall (01:04:37):
Legal reasons, it’s a parody. And I’ve got to say it’s a crap, hang on, I’ll un zoomo myself. I had a great time reading this. It was a great laugh. He takes such great digs at these old comics and just comics in general. It’s not just at the one who walks the ghost who walks. It’s not just him. There are a lot of characters that he actually, well, he doesn’t specifically go after them that you know who he’s talking about. But the general superhero genre, the general vigilante genre, he makes fun of all of them and he does it well. I had a good laugh reading that. So if you want to laugh and you’re into Superhero Comics or The Phantom or anything like that, not that I said it. It’s a great laugh. It’s a great book. I would get it. I believe there’s a Kickstarter coming soon for the last issue or the second issue. I don’t even know how many I’ve got. I’ve just read this one. The first one. Great fun. When the next Kickstarter comes out, get this one or the two before or the one before, whatever it is. Great Laugh. If you’d like a laugh, get it. That’s what I’m saying.

(01:05:58)
It was a good giggle.

Morgan ‘The’ Quaid (01:06:00):
Sweet.

Shane ‘Sizzle’ Syddall (01:06:01):
A few belly laughs, a few belly laughs. I had a good laugh. A few of the jokes.

Morgan ‘The’ Quaid (01:06:05):
Sweet. And while you’re on the Kickstarter, get into Bin Kitty. Get it over the line. Comex is still what, two days left. Yep. Zach’s reminding us. So two days left to get Comex presents and Comex presents noir

Shane ‘Sizzle’ Syddall (01:06:22):
At presents dot Comex studio.

Morgan ‘The’ Quaid (01:06:24):
So get in there and get that stuff. And

Shane ‘Sizzle’ Syddall (01:06:28):
I was just, I’ll go back to that one while I do this and I press this and, oh, that didn’t work. Okay, let’s do it this way. And that

Morgan ‘The’ Quaid (01:06:44):
This

Shane ‘Sizzle’ Syddall (01:06:44):
Is Instagram.

Morgan ‘The’ Quaid (01:06:46):
All right, we did it. We have the technology,

Shane ‘Sizzle’ Syddall (01:06:48):
We have the technology. We have the way, it’s a slow, slow sizzle way, but it’s there.

Morgan ‘The’ Quaid (01:06:55):
Cool, cool, cool. Couple of seconds for Shameless promotion Shadow’s Daughter is still on Kickstarter, so every Aussie that backs it gets one free comic. PDF comic. There are now two free PDF comics as well, plus the six that you get as part of the campaign. So I don’t know, nine is that nine. And there’s still some early bird deals. There is also exclusively, I’m releasing if I get to 125 backers, a comic that I wrote directed, starred in Drew lettered. The whole thing is mine. And it’s terrible. It is basically just fart jokes and stupid things and a couple of weird characters. I’m just going to quickly show you if I can figure out how to do this without breaking the world. Bam. Bam. Can you see that?

Shane ‘Sizzle’ Syddall (01:07:56):
Can now?

Morgan ‘The’ Quaid (01:07:57):
Alright, so that’s what it is. That’s a sneak peek, A live sneak peek at what it’s called, the Wrath of Rudolph. It’s funny if you like that sort of thing. It’s not well done at all. It’s terrible. It’s terrible. It’s terrible, but it’s kind of fun. Terrible. So yeah, we get to 125 backers. Everyone gets that. I just wanted to sort of show you that. That was fun. Bam. Yeah, and that’s me done.

Shane ‘Sizzle’ Syddall (01:08:26):
And at the request of Zach, I’ll do this again, presents.com, X studio, that’s where it presents three years and presents new R three eight stories in total. Four stories each. Comic each anthology. Eight. Well, I was going to say eight creative teams because seven of ’em are people and one is a team. So we’ll just call ’em all teams. Yeah, I did that Well. So yeah,

Morgan ‘The’ Quaid (01:08:56):
I’m confused. How many team slash people, is there someone involved in this that isn’t a people or a team? Is there a thing? That’s the machine. That’s machine, isn’t it? There’s a machine. That one is done

Shane ‘Sizzle’ Syddall (01:09:06):
By story. A pet, oh, hang on. No, no, sorry. That has the pet in the story, not done by the, okay. Whatever.

Morgan ‘The’ Quaid (01:09:12):
B kitty.

Shane ‘Sizzle’ Syddall (01:09:14):
Speaking of which, not only is B Kitty in comics presents new art, it’s also in its own Kickstarter. The very beginning, we’re going back to the origin bin kitty.com x do studio.

Morgan ‘The’ Quaid (01:09:28):
And where would a likely las or lad go if they were wanting to look at where do I find the latest Australian Kickstarters? Where would I go? sle? Is there a location that, well, you would go here. There you go. It’s in the name. Nice

Shane ‘Sizzle’ Syddall (01:09:43):
Little short link I made for everyone. I got sick of going through the search bars and doing it, so I made this link so I’m sharing it. It was for me because I’m lazy, but it’s also for you

Morgan ‘The’ Quaid (01:09:56):
Get in and support people. Also,

Shane ‘Sizzle’ Syddall (01:09:59):
Kickstarters

Morgan ‘The’ Quaid (01:10:01):
Also like, and subscribe this thing. Subscribe

Shane ‘Sizzle’ Syddall (01:10:05):
To the channel people

Morgan ‘The’ Quaid (01:10:06):
Hit the bell so you get reminders because apparently that’s what we want you to do. So it’s good. It’s good. Excellent. And subscribe. That’s it. I love

Shane ‘Sizzle’ Syddall (01:10:19):
It. And I could have easily segue to ending there, but No,

Morgan ‘The’ Quaid (01:10:24):
That’s what I was hoping you would do. That’s why

Shane ‘Sizzle’ Syddall (01:10:27):
I.