Shane ‘Sizzle’ Syddall (00:15):
Welcome to another episode of The Odds Comex Show. Uh, I should probably note this is a little special. This is being prerecorded, so if you’re trying to leave comments, uh, we won’t be able to see them from the future or the past, whichever way you wanna look at it from whose ever’s perspective. Um, so yeah, so what I’ll mention is that we are talking to Matt Scofield today, uh, about his awesome comic, um, steamroller man. And, um, I should note it’s Wednesday when we broadcast this. So this Friday there will be drink and draw. Um, I’m not sure what the topic is ’cause it’s a little ahead of time. And, um, yeah, watch our other shows like Chinwag and, uh, uh, what we read this week. Uh, no, well, sorry, comics recent reads, I should probably call it by the proper name. And I hope that sometime very close to this, we’ll be releasing the new season of, uh, let’s make a comic book. So yes, that’ll be interesting, exciting, very exciting. Enough of us. Let’s tune into Mr. Schofield.

Sheydin Dew (01:20):
Let’s do it. Hello.

Matt Schofield (01:43):
Hello.

Sheydin Dew (01:44):
Welcome to the show, Matt. Thank you so much for being with us and taking the time to, uh, do this pre-recording. Hello to everyone in the future. Um,

Matt Schofield (01:54):
Hello everyone

Sheydin Dew (01:54):
In the future. I know, I know that we’ve we’re, we’ve brought you all the way across from LA tonight. Yeah.

Matt Schofield (02:03):
Yes. Can

Sheydin Dew (02:03):
You give us a little bit of an introduction about you?

Matt Schofield (02:06):
Yeah. Um, my name’s Matt Scofield and, uh, I grew up in Brisbane. I moved to LA in 1996, uh, to work in the animation industry. And I’ve been here ever since. Um, I’ve worked on a few feature films, uh, worked on Capstone Dance and Iron Giant and Prince of Egypt. And after that experience I decided I wanted to try something different, and so I got into TV animation on The Simpsons, and I started as a character layout artist on The Simpsons in 1999. And I’ve worked on the show ever since, and I’ve done almost every job on the show in terms of, uh, I’ve done character layout, I’ve done character design, storyboard, storyboard, revisions, animation, timing. I’ve been an assistant director and an episode director, and I’m currently the supervising Storyboard director on the show, which I’ve had that job for 10 years now. So, um, that’s why I’m talking to you from Los Angeles. Yes.

Sheydin Dew (03:13):
<laugh> amazing. Um, you’ve got such a, an extensive background. Um, I can’t wait to get to know a little bit more about your history. Um, but first and foremost, obviously we are talking everything about Steam Roller Man, as you can see. Yes. Um, can you give us a little bit of information, um, a little bit about what it’s about?

Matt Schofield (03:33):
Yeah. Steamroll Man is a superhero comedy comic that, uh, has its tongue firmly in its cheek. Um, it’s very influenced by things like The Tick and, uh, the 1960s Batman TV show in the aspect, in the respect that it’s, it can be read as a, you know, action packed superhero story, but there’s also jokes and, uh, the jokes can, you know, a kid can read it and just have a great time reading it and still get some of the jokes. And then there’s jokes that people who have been reading comics for years and years like I have will get the references and, and, and things that I’m throwing in there. Yeah. Um, so yeah, it’s, it’s, uh, the kind of con, you know, the people say like, you should make the comic that make, make the kind of comic that you wanna read. And so this is totally me doing that.

(04:37)
Absolutely. Um, it was kind of my reaction to how serious and grim comic, you know, main mainstream superhero comics have sort of gotten, uh, in the years since I was a kid. Um, and, uh, so I just wanted to make something fun. Um, it was initially something that I could show my kids when they were younger and and amuse them. And, um, steamroller Man was created after a, I had a conversation with my kids around the dinner table about, we were making up cool superhero names, and my youngest son said, what about Steamroller Man? And I had like the light bulb moment above my head, and I immediately had a picture in my mind of what Steamroll Man looks like with the giant roller for a head <laugh>. Um, and I sketched it on Napkin and I said, yeah, that’s awesome. How about like, he looked like this, right?

(05:41)
And I showed my son and he said, no, I, I meant with steam rollers for hands. And I was like, oh, okay, well then that can be your version of Steamroll Man. I’ll, this is my version of Steamroll Man <laugh>. And so from that point, I couldn’t really, like, I was just started thinking about like, oh, well, what would the implications be of a superhero that had a giant head? Like the first thing I thought of was, well, they couldn’t really easily have a secret identity. Yeah. Because how do you cover up that huge head? Yeah. And so then one, one idea kind of rolled into, sorry, <laugh> <laugh>, that was a total unintentional pun. One, one idea flowed into the next, um, where I thought, oh, it’d be funny if he tried to put glasses on the way Clark Kent does to disguise his huge head.

(06:38)
He just uses glasses and and nobody recognises, or he thinks nobody <inaudible> <laugh>. And when I started drawing that, I realised, well, I can’t put like a regular pair of glasses because a, he doesn’t have ears to hook earpieces onto. And secondly, like, his head’s so wide, so I had to draw the glasses huge. And then that suggested, oh, if they’re that big, they would magnify his eyes, eyes to like anime size eyes. Um, so it all was just sort of this organic kind of process of once I started sketching ideas, it was like, oh, that works like that. The, the, the image of him with the big glasses. I was like, oh, that, that actually looks really funny. Um, let’s go with that. And so then, yeah, it was just, uh, starting to kind of, my brain was just kind of, um, throwing idea, you know, throwing ideas at me of like, oh, and he could do this and he could do that.

(07:45)
And what if he, you know, what if he did this? What, what’s the sort of funny situation that someone with a huge head could get into? And his, you know, his superpower is basically destroying things. So kind of like the irony of a guy who’s trying to help, but all he can do to help is destroy something. And so if, if that’s not really applicable in the situation, it’s like, well, too bad. Sorry, I was trying to foil your, your jewellery shop robbery, but I actually destroyed your shop <laugh> in the course of trying to stop the, the robbers. So it’s that kind of, that’s the premise basically. And then the, the, the story in issue one is, um, another idea that came from a conversation with my, with my sons when they were little, which was, um, what if there was a giant gingerbread man?

(08:42)
Um, and so I, that that sort of suggested like, okay, well then what if it was, what if it was like an evil Willy Wonker type character, <laugh>? And he used, um, the, the comic writer, uh, grant Morrison back in the nineties when he, when they were doing, um, Batman, what was it, legends of the Dark Knight. They did a storyline called Gothic. And at the time they were talking about, um, they put this element called Occult architecture into the story. And I just was like, occult architecture. What’s that? And so I, when I was doing this story, I thought, well, what if there was occult confectionery? And he and Sugar Daddy, the villain had studied the art of occult confectionery. So it’s sort of magical candy making. And, uh, so yeah, he creates this giant gingerbread man, and he uses one of those conversation hearts. ’cause, you know, I researched the folklore, the Jewish folklore of Gollum, and usually they’re made out of clay, and they, they, they put a, a word of power on the Gollum, and that binds the Gollum to the will of the person creating the Gollum. And so I thought in this case, the word of power could be written on one of those conversation heart candies, but it’s a giant one, and it’s where his heart would be. Um, so yeah, that, that explains the characters and the premise of, of this story. Um,

Sheydin Dew (10:22):
Absolutely. Yeah. And I mean, obviously when I was reading it, um, I fell in love instantly with your character design, so it’s so Oh, thanks. So amazing to know that, um, you’ve pulled inspiration and you’ve, um, included your kids into that process. Um, we will talk a little bit about the process of how you came to make this comic, um, a little later in the, the show. Okay. Um, but also I fell in love with some of your, um, the, the different covers that, um, other artists created. And I just fell in love with all the colours in it. But the fact that, um, obviously the comic is black and white, um, it’s done so, so well, and it’s just very enthralling. And again, it’s, it’s like you said, tongue in cheek. And I think it’s, um, yeah, something that I don’t, you see so much of like the superheroes and, you know, it’s very serious and high stakes and things like that. Um, and like steamroll em in, I think really brings in a lot of joy into those kinds of, uh, stories. So Yeah. I had, I had a ball reading it. Oh, thanks <laugh>. Yeah. So I guess having settled that, um, can we maybe right, wind it back a little bit. Can you maybe describe, um, obviously we’ve got pictures to the side here, um, a little bit about your own art style and perhaps a little bit of your journey alongside that.

Matt Schofield (11:40):
Yeah. Um, well, I started drawing as a kid, as you know, most, I think most of us who draw comics, you know, as adults started as as kids. And, and, um, I was, you know, people ask me like, what my influences are, and I don’t necessarily try consciously to draw like any particular artist. I’m definitely trying to achieve the look a similar look to, um, the style of like 1970s Marvel comics, let’s say. Um, but the black and white style started off as a purely, um, pragmatic, practical choice because I knew that I wanted to eventually print this. And I knew that, um, initially I was thinking of doing this as like just a little photocopied zine type mini comic. Um, but it just kind of grew, like the story just became bigger and bigger. And then I was like, I think I wanna do this as an actual, like, us format, like proper comic type thing.

(12:52)
But then I, I knew that like black and white comics are, are cheaper than, um, colour comics to print. And then I was thinking like, well, maybe I’ll, I’ll do it black and white ’cause I started publishing this on the web. Um, and all my comics are available to read for free online@steamrollerman.com. If you want a print version, the Kickstarter’s on right now@kickstarter.steamrollerman.com. Um, so, uh, and thank you to Siz for creating the vanity URL for that, uh, setting that up for me. ’cause I don’t know anything about <laugh> making websites or anything like that. Um, but yeah, so then like I had the thought of like, oh, well maybe I’ll put it up on online in black and white and then colour it for the print version. But then I had people like complimenting the black and white artwork. Yeah. And they were, and I had actually said to a few of them, like, oh, well I’m gonna colour it when I print it.

(14:02)
And they were like, no, no, no. Keep it black and white. Like the black and white is what makes it distinctive. ’cause you don’t see many superhero comics that look like this in black and white with the, and, you know, the person I was talking to really liked like the, um, the screen tones that I was using. Yes. Um, which I really have fun doing, you know, getting that look and stuff. And so that was enough to kind of convince me, oh, okay. So yeah, I’ll just keep it black and white and that’ll be the look of the comic. That’s the style. Um, so yeah, again, I’m, I’m not a person who really, um, tries to adopt a certain style. I think because of my work in animation and in animation, when you work in animation, you are usually drawing in someone else’s style and, and that’s part of the job.

(14:58)
Yeah. So for this, I was really, it was just really like a freeing kind of process of I’m just gonna draw how I want to draw, and it’s just gonna come out how it comes out. And admittedly, like if you look on my, on the website, you’ll, and you go back to the earliest stuff that I did, you will see like, oh, the early pages are definitely more primitive than the latest pages. So my art has gotten more complex and more detailed as I’ve been working on it over the last, you know, six years or so. Right. Um, but it’s all the only sort of conscious, um, effort that I put into changing the style is all about. Um, I’m just trying to make it look as good as I can possibly look, um, as good as it can possibly look, you know? Um, yeah.

(15:51)
So, and, and yeah, I’m not, I I, as far as like influences, it’s more like I’ll see, um, you know, like I’ll look at things like, um, like I’m, I really love the clean inking style of people like Brian Boland and Charles Burns and Daniel Klaus, and, uh, Dave Stevens, the guy who created Rocketeer. Um, so, and then I love all the EC artists, like from the fifties, like those ec horror comic artists. I love all that stuff. Um, actually trying to emulate that a little bit in the sugar daddy sequence at the beginning of this issue. Um, so it’s more like each individual page. Um, it’s just what I happen to be looking at when I’m working on the page. And it’s like, I was looking at, um, the Rocketeer, for instance, when I was drawing one of my most recent pages, um, for issue three.

(17:05)
Um, and I noticed he used like these circular inset panels, and I was like, that’s cool. Like, I gotta figure out a way to, to use a circular inset panel somehow. Yeah. And so then I’m just like, okay, how can I fit a circular panel somewhere in this, in this layout? And so it’s just stuff like that that I just inject stuff of whatever I’m looking at. Um, it’s not like, oh yeah, I love John Byrne and I’ve copied, I’ve been copying his artwork from when I was a kid. I didn’t really learn to draw that way when I was a kid. Like, I wasn’t one of those kids who, who traced the, the artwork of my favourite artist to try and learn how they drew, um, or copied my favourite artist. I just was like, I just always tried to just draw something that looked human <laugh> or whatever, you know, like good. Yeah. Um, and so yeah, that’s, does that answer your question?

Sheydin Dew (18:07):
Absolutely. And I like just to, um, yeah, go on from that. I think the fact that it must’ve been so liberating for you to do your own project and put your own passion into it and make it look just like what you want it to look like, um, I can, I can sympathise or maybe not sympathise with the right word, but I understand where you come from when you work in the animation studio. You’re working in somebody else’s style. Mm-Hmm. <affirmative>. So, uh, as for me, I, I really enjoy being able to make something for myself and wanting, so I completely understand where you’re coming from from that. Um, and like I said, your, your character designs just charmed me from the beginning. And I think Oh, cool. Um, like, like you said with like the, the large eyes, like, um, steamer man, he just exudes like, I don’t know, when I first saw him, my first, in, my first response to him was like, wow, what a friendly guy, <laugh>. I was just like, I just love that character design so much. Um, and again, like the, the originality as well, like, being able to bring your kids into that process of creating these characters is just wonderful. Um, and something you don’t always hear about as well. So, um, it kind of leads me to my next question. I, I really enjoy asking this question in particular because, um, I like to know, especially someone with someone, someone with such, uh, extensive experience in the industry. Mm-Hmm. <affirmative>. Um, what would you say are your strengths when creating,

Matt Schofield (19:34):
Oh boy. Wow. That’s a tough question. For someone with chronically low self-esteem, like me to answer <laugh>, um, what are my strengths when creating Oh my goodness,

Sheydin Dew (19:45):
What do like to draw upon? Yeah. Yeah. I like to be as positive as possible about the, the creating process.

Matt Schofield (19:50):
Yeah. Um, I think, um, I think one of my strengths is I’m always like doing word play and like, there’s a lot of puns in Steamroller Man. Yes. Um, that’s one of my, like, I love puns and I love word play, and I’m always kind of like, I’ve got a whole Google Doc of just funny sounding character names that <laugh>, and that just comes from, like, I just hear things in conversation and then I’m like, oh, like Susan Shocks instead of, you know, instead of Shoes and Socks, Susan Shocks, that’s a cool name. You know, stuff like that. Um, yeah. So it’s just those.

Sheydin Dew (20:40):
And might I, might I add like, sugar Daddy? Amazing. Yeah, I love that so, so much.

Matt Schofield (20:45):
Yeah. Yeah. Well, originally I was thinking, oh, Candyman, but then I thought, I’m sure there’s a candy. I’m sure somebody’s done Candyman. And then, um, so I was like, oh, sugar Daddy that, that’ll work <laugh>. And then when I was preparing it for print, I thought, oh, his, his real name could be Manic Manny Cavities. So it’s many cavities, <laugh>, yeah. Like the Sugar Daddy <laugh>. Um, so yeah, it’s just those kind of, I like funny sounding names. Um, absolutely. Yeah. And so I think that is definitely one of my strengths. And I think also, um, having worked on The Simpsons for so long, that’s really given me an awareness of how to visually stage a joke, um, for maximum comedic impact. Um, and you know, I’ve, I learned, I’ve learned so much on The Simpsons over the course of my time on the show.

(21:47)
Um, and, you know, it taught me my drawing skills, like just elevated, just because when I first started on The Simpsons, like you as a layout artist, you get a section of the show, like, you get 10 scenes, and it’s just like whatever happens in those 10 scenes and whatever’s in those 10 scenes, you gotta draw it. So no matter if it’s like a crowd scene or just a closeup of Bart or, um, a horse race or, you know, whatever, like on my first, in my first week on The Simpsons, I, in my section, I had, uh, a section where, um, Homer was fighting the leader of a biking gang, and they were doing a sword fight with their motorcycles. So they had to pick up the motorcycles and go bash, bash, bash. And I’d never drawn a motorcycle in my life, <laugh>. And it was my first week on the job.

(22:53)
And so I was like, uh, I got, I gotta figure out how to learn how to draw a motorcycle real fast, <laugh>. And, uh, yeah. So it sort of throws you in the deep end. And, and it’s sort of, you know, I learned so much about perspective and composition and stuff just through trial and error and, and, and doing, doing a bad job, and then being corrected by the more experienced artists on the show and the directors on the show. And, um, and so I bring that into the comic. I I kind of think that I couldn’t have drawn the comic before I started actually drawing it, because I don’t think my artistic skills would’ve been quite up to the task and until I drew it at the time I did. Um, so I kind of have a philosophical viewpoint that, like Steamroller Man happened when it was meant to happen, um, in terms of my artistic development. Um, and, uh, yeah. So, um, I don’t know, is that, is that a good enough answer for your question?

Sheydin Dew (24:06):
Absolutely. Okay. Um, and I would’ve been,

Shane ‘Sizzle’ Syddall (24:08):
Can interrupt just for a second. I just wanna say that motorcycle scene Yes, I know that scene. I love that scene, so thank

Matt Schofield (24:15):
You. Oh, nice. You’re welcome. Thank you. That’s cool. It

Sheydin Dew (24:18):
Must be, must be such a cool, um, feeling. I, I, unfortunately, I didn’t watch a lot of The Simpsons growing up. Um, sadly. It’s okay. Um, definitely something that I definitely wanna get back into because all my friends are always raving about it, so all my friends watching, um, they’re gonna be like, oh, Shane, and God, you still haven’t gotten onto it. <laugh>. Um, that must be such a cool experience, Shane, for you to be like, I’ve seen that scene, and now to be able to talk to someone who made that scene, I think that’s

Shane ‘Sizzle’ Syddall (24:45):
Fantastic. Yes. That’s very cool.

Sheydin Dew (24:46):
That must be a cool

Matt Schofield (24:47):
Feeling. Oh, thank you. Thanks.

Sheydin Dew (24:48):
I’ll

Matt Schofield (24:49):
Have to That’s awesome.

Sheydin Dew (24:50):
I’ll have to look out for the motorbike scene, that’s for sure in future <laugh>. Um, but that must be so, like, you must have such a plethora of skills in your tool belt. Um, and it’s so interesting for you to like, reflect on that whole process to get to where you are now with a steamroller man, um, on the back end of that question. Mm-Hmm. <affirmative>, um, I think a lot of artists can agree with me here is that, you know, you’re always constantly improving yourself. Like, there’s always something more to learn. Absolutely. Um, especially with technology and everything going on these days. Um, yep. Are there any skills that you are currently trying to improve or something that you’ve learned recently?

Matt Schofield (25:28):
Oh, yeah, there’s always, I mean, as you alluded to the, the process of working on Steamroller Man every day, ’cause you know, I do try and not while I’ve been preparing the Kickstarter, because <laugh>, that’s like so much work, <laugh>, I haven’t had time to actually sit and draw the comic for so long, um, while I’ve been getting the Kickstarter ready. But on a normal day, um, I work on the comic every day before work, before I actually start my regular job. Um, and, um, just that daily practise of drawing every day, and especially like a superhero thing where it’s so much about like muscles and anatomy and pose like weird poses. Um, it really has stretched my, stretched my drawing abilities to their limits, but it’s also forced me to, you know, learn how to draw the seras muscles. Um, you know, they’re those scalloped muscles under the arm sort of thing, <laugh>.

(26:37)
And, um, so there’s always something where I’m like, oh God, I can’t draw knees. That’s the most, that’s one of the most recent ones was like, I really have to figure out how a knee actually works because I gotta draw this pose where his knee is like front and centre in the frame and this what I’ve just drawn doesn’t look right. So I have a whole bunch of anatomy books like right to my right. And, um, so yeah, it’s, it’s a, it’s good because it sort of forces you to learn what you don’t, you learn what you don’t know, and then you take definite steps to improve that. Um, drapery and folds in clothing is definitely something that I was not comfortable drawing when I first started this comic. And, you know, I’ve got Steve Rollman wearing regular clothes, and then I’ve got sugar daddy wearing this kind of, um, I don’t know, 17th century dandy outfit, which was kind of like, after drawing that for a while, I’m like, why on earth did I make him, like, why did I put him in this costume?

(27:58)
I’m sick of drawing this bloody costume <laugh>. But you know, again, it forces you to get better at drawing stuff you don’t like drawing. And that’s also something that, um, animation helped with was like, before I started working on The Simpsons, I never really drew backgrounds. Um, working on The Simpsons really made me realise how important a background is, even in comics. And so you’ll see in a lot of my panels, I do put backgrounds in because the background lines can actually be used as compositional elements to lead your eye to what, to lead the viewer’s eye to what you want them to look at, um, with the lines of perspective and stuff. Um, you know, so like in that cover that’s on screen now, those bannisters and stairs, they’re pointing down towards the word balloon that’s coming outta steamroller man’s head. So it’s all sort of focusing at Steamroller man in the lower left corner.

(29:04)
So it’s all, you know, all that compositional stuff, um, is, let’s, I really get into that aspect of comic making is like composing the panels, placing the, I’m really particular about where I put the word balloons because word balloons are so important and letterers, I feel are like the unsung magicians of the comic industry because if the lettering is wrong or, you know, if it’s placed wrong, you notice it immediately. If it’s right, you don’t notice it. Which is kind of like the irony of, of letter is doing a good, good job. Nobody notices that they’ve done a great job.

Sheydin Dew (29:46):
Exactly. Yeah. So

Matt Schofield (29:48):
That’s one thing I’m really particular about is the, is the lettering as well, which is a very nitpicky minor thing to get into, but I, that’s me. So <laugh>

Sheydin Dew (29:58):
No, but it’s such an important thing as well. Um, I’m currently a second year graphic design student.

Matt Schofield (30:04):
Oh, great.

Sheydin Dew (30:04):
Um, so even I understand where you’re coming from, even though it’s from an animation background. Um, I think this is where like the industry kind of like converge, um, looking at, um, that cover right there next to us. Mm-Hmm. <affirmative>, um, even like your, like the typography of like cynicism, sweetness, sugar, daddy. Yeah. Like even points towards,

Matt Schofield (30:24):
Right.

Sheydin Dew (30:24):
Um, enrollment and like Yeah. Just having all these different elements. It’s not just like, um, the composition, like you said with the bannisters, it’s always like about leading lines and stuff like that.

Matt Schofield (30:33):
Exactly. <crosstalk>,

Sheydin Dew (30:35):
Um, graphic design elements come into play. There’s so much, like, I feel like, like you said, letterers, like if you notice it, then it might not always fit or it might not always work, but when you don’t notice it, you know, it’s done well and it’s such an Exactly. It’s, it’s so ironic. Yeah. Um, so it’s in so interesting to hear other people’s perspectives. Um, and it’s like, such as yourself noticing those, those small details that just make it just amazing.

Matt Schofield (31:02):
Yeah.

Sheydin Dew (31:02):
Um, you did say also that, so this has been six years in the making. Is that correct, did you say?

Matt Schofield (31:08):
Yeah, I mean, not, not this issue. I, I’ve been doing Steamroller Man for six years. Yeah. These, these, um, I first started Steamroller Man in, um, 2017 and I started putting it online in 2018. Right. Um, and now it’s 24. I’ve, so I’ve gotten, I think I’ve done about a hundred pages. This is the first 40 pages of the story. Um, I’ve also done issue two that’s ready to go. And I’m halfway through drawing issue three. Yes. So I’ve been doing it since 2018. But this issue, these are all from 2018 and 2019. And then I redrew, um, I think maybe like the first five or six pages of this issue, um, I went back and like completely revamped for the print version in preparation to do the Kickstarter campaign. And I did that in 21, 22, 21 or 22, so, yeah. Wow.

Sheydin Dew (32:15):
Yeah. So it’s, it’s been, uh, it sounds like such a, an interesting process. Um, what was your favourite stage in that process for

Matt Schofield (32:24):
You? My favourite stage is always the inking. Uh, I really love black and white, you know, like I really love black and white art. Um, I don’t feel as comfortable doing working in colour. I think it’s just ’cause I haven’t done it as much as I, I’ve done black and white, so I’m very comfortable doing black and white artwork. And I just love inking stuff and making it look cool. I love putting those screen tones down. And, ’cause I work in Clip Studio paint, like the whole, I do the whole comic and clip studio, and they have, you know, that that software has awesome tools for getting really nice screen tone effects, like what you’re seeing on these pages. Um, and so I’m always trying to, you know, come up with new little tricks and stuff that I can do in Clip Studio to get some something looking really cool. Yeah. So that’s my favourite part of the process is the, is the inking.

Sheydin Dew (33:27):
It definitely, it definitely shows. And for someone who, uh, very much appreciates screen tones, I think you’ve done very, very well. Oh, thanks. Um, yeah, absolutely. It’s a, yeah, phenomenal. Like the contrast within the black and white pages. It’s just a joy to read.

Matt Schofield (33:43):
Um, thank you.

Sheydin Dew (33:44):
I guess on the, the backend of that again, what, what do you find most challenging in your process?

Matt Schofield (33:50):
Um, I think the biggest challenge is, um, yeah, it’s the, it’s the actual drawing of the stuff that I’m not comfortable drawing. The new, the things that I’ve never drawn before, let’s say, um, which the writing is. Um, also, I, I, I wouldn’t say it’s challenging because I, I still enjoy it, but I am constantly rewording, like I’m revising all the dialogue all the way through the process. Like, I start off and I rough ’cause I don’t really ru I don’t work from a full script at all. Um, I just work from an outline and I know where the story has to go. I just don’t know how many pages it’s gonna take to get there. So I’ll rough out, you know, three pa three or four pages, uh, thumbnail layouts at a time to just say, okay, so this is the next story point.

(35:06)
Let’s see how many pages that’s gonna take to tell that story point. So I’ll do my little thumbnails and then I’m, and then as I’m doing the thumbnails, I’ll come up, I’ll think like, oh, okay, I could put a joke in here. And so that’s, the story’s very, like, it grows very organically because of that. But I think that’s better for the comedy because the comedy is, at least the way that I come up with jokes, it’s in response to stimuli, right? Like, if somebody says something, then I’m like, oh, and you know, I come up with a, with a comeback, some kind of funny line or whatever. So it’s almost like I’m doing that with myself where I come up with the plot first of like, here’s the event and now let’s take another look and see how can I add jokes to that?

(36:00)
And then, so that’s, that’s sort of a challenge is like, what can I, you know, I’m like, how can I make this bit funny? What do, what do I like, what’s funny about this part? And, um, but it also results in like a lot of kind of twists and turns in the story. Like in issue two, um, I introduced two characters who were kind of like my Batman and Robin sort of analogue characters. And they’re called Night Night and Sleep Tyke. And they’re, um, sleep themed superheroes. Uh, they just, they basically just go out in their jammies and, um, fight crime at night. Um, and, um, they’re a father and son and I had the idea for them, uh, just in my kind of idea file. But as I did issue one, I realised like, man, comics take a long time to do. I’m never gonna get to all these other ideas I have.

(37:02)
I don’t even know how long it’s gonna take to finish, get through this one sugar daddy story. And so that’s when I was like, I think I’ve gotta start pulling in other ca other ideas for characters that I have and just sort of put them into this world and see how they fit. And so bringing Night, night and Sleep Tike in it actually was great. And it, and it sort of made the story, um, take a completely different way to getting to the end point than what I initially thought it was gonna be before they were gonna be in the story. So, um, so yeah, the writing of the, of the story is, is definitely a challenge, but it’s also a fun challenge because I don’t know where it’s gonna go. I just sort of know, well, I’ve gotta get to this. You know, it’s sort of like you see the house on the hill that you gotta get to, and it’s like, well, we can go this and go around to the left, or we can go around to the right. Um, absolutely. Yeah. But we know, we know we gotta get there by the end of the day sort of thing, you know, so, and I

Sheydin Dew (38:12):
Think, I think that feeds onto the whole, um, liberating feeling. It must feel like, I, I would assume, um, that you, you don’t have like a clear cut path of how to get there. There’s all these like, open avenues on the journey to get there. That must be so fun to play with Yeah. And be able to change on your own accord. So that’s really interesting to hear that process of it. ’cause obviously, you know, a lot of artists work with a script. Um, and then to hear from yourself that it’s a little bit more loose and a little bit more organic. Yeah. That’s really cool here. Yeah. Um, yeah. Absolutely. So, um, I know that, uh, when this releases, um, you’ll be in your second week or second to last week. I

Matt Schofield (38:53):
Think it’s second to last week. The campaign ends on June 6th, so

Sheydin Dew (38:59):
Amazing. How exciting. Um, I was wondering, I mean, obviously that’s in the future. Um, uh, can you give us a little bit of, um, an idea of how that process to launch the Kickstarter has been for you, <laugh> in the leader?

Matt Schofield (39:12):
Sure.

Sheydin Dew (39:13):
<laugh> that up as well.

Matt Schofield (39:15):
It’s been, I mean, it’s been a journey. Yeah. Um, I first started thinking about doing a Kickstarter, oh, it would’ve been like three or four years ago. And I did some initial research and it just seemed like so much work. I was just like, eh, you know what, maybe, maybe I won’t. I’ll just, you know, I’ll just do like print on demand kind of a thing and I’ll just sell it through an Etsy storefront or something. And, um, I came to know John Boy Meyers, the, um, the comic book artist. Like, he’s an American comic book artist, and he’s very kind of successful and, and high profile in the, in the comic book industry over here. Um, just happened to sort of randomly meet him at a comic convention one year. And, um, I told him about like, oh, can you know, I, I said like, can I get your advice on just as a comic professional?

(40:22)
Like, I’ve been doing my own comic just in my spare time as a thing for fun, but I do want to publish it. Um, eventually I’ve got about, this was when I had about 10 pages done and I said, I don’t know, like whether I should like print it or do like a photocopied mini comic or put it on the web. Um, you know, a lot of people are telling me just do a web comic, but I dunno about anything about coding or websites or anything like that. So I wouldn’t know where to start with that. And he actually said, well, why don’t you just put it on Facebook, like, set up a page for your comic on Facebook and then just upload the images. Like you would put your photos on your Facebook page. And I was like, oh, that’s actually an amazing, yeah, that’s a great idea.

(41:13)
Um, ’cause I know how to use Facebook, that’s great. And he said, yeah, so, you know, once you get that set up, um, just send me a message on Facebook and I’ll share your page with my followers. And I was like, oh, really? You’d do that? And, and he was like, yeah, I’m, I’m all about like promoting independent comics and your idea sounds really good and, you know, I want, you know, I just wanna get new ideas and new creators into the industry. And I was like, oh, okay. And I just, you know, I kind of thought, oh, he’s just saying that to be nice. Um, but I did what he said and I sent him a message and said, and said, Hey, remember me, I’m the guy with the Steamroller man comic and um, so here it is. Here’s my page that I set up.

(42:00)
And true to his word, he shared it with his followers. And I think that’s how I got my first like maybe 50 or so followers on the Facebook page at that time. And so that was like the beginning of the, of the journey. Um, and he was the one who first told me, you gotta do a Kickstarter. When I, you know, he was, ’cause he was like, when are you gonna print this comic man? You know? ’cause I would go back every year. I would see him at a comic convention. I’d just chat and thank you. You know, I’d say like, thank you so much for that initial push you gave me. Like, ’cause um, wouldn’t have happened without your encouragement. And, and he was like, yeah, well when are you gonna print it? And I said, yeah, well, you know, I’m still kind of working out options and what my, you know, what, how I should do it.

(42:49)
And he was like, you should do a Kickstarter. And, and I said, well really, ’cause I’ve, I’ve heard that’s a lot of work. And I, I was thinking of just doing like an online kind of store, like print on demand thing. Yeah. And he was like, no, do not do Print on Demand. You have to do a Kickstarter. And I was like, uh, why <laugh>? And and he said, you will, you, you’re gonna discover, um, like so many more people will discover your work just by being on Kickstarter than would if you just set up your own little online store and you’re only trying to publish, publicise it through your Facebook thing. Um, he was basically saying like, Kickstarter has a huge footprint and a lot of traffic going through Kickstarter, browsing the new comic ideas. And so I was like, ah, okay, alright, I’ll look into it.

(43:43)
And then, so I did look into it and I was still like, really like, uh, I don’t know, I don’t know whether I wanna do this <laugh>. And it took another couple of years of seeing him at comic conventions, just catching up with him and him sort of saying like, how’s that Kickstarter coming? What’s going on? I should have seen it by now. So he was really encouraging and I was sort of dragging my feet. And then he finally said last year he was like, look, what if I do a cover for you? And then I was like, oh, uh, yeah, okay. Wow. Um, you sure? And he was like, yeah, I want you to get this thing on Kickstarter. And so I was like, alright, okay, I have no choice. I will do it. I will get it on Kickstarter, <laugh>. And so, um, that was when I really got serious about it.

(44:43)
And, um, there’s a, there’s a guy online called Tyler James who does this Kickstarter, like how to do comics Kickstarter course, course called Comics Launch. And I had been following his podcast for a couple of years and he offers like a paid course as well. But I, you know, I really resisted doing the paid course for a long time too. ’cause I was like, I can do it myself. I’ll just, I’ll just listen to the podcast. I’m not, you know, I’m not gonna pay for it. But then I, I kind of hit a wall in my knowledge and I was like, there’s so much to do to prepare a Kickstarter campaign. I’ve, I’ve reached a point where I’m just like, I don’t know how to do the rest of this. I don’t know what I’m supposed to do next. I’m not, I don’t know what order I’m supposed to do anything in.

(45:42)
And so then I was like, you know what, I’m just gonna bite the bullet. I’m gonna pay for this course and just see how it goes. And honestly, if it wasn’t for doing that course, I, I wouldn’t have even launched the Kickstarter. ’cause he re his course was exactly what I needed at that point in time. In the, in the sense that he gives you a, like a literal checklist of when you, if you wanna do a Kickstarter first, you gotta do this second, this third, this fourth, this step by step of like, here’s everything you have to do. From the moment you start thinking, I may want to do a Kickstarter to the moment you, um, press launch on the campaign page, even beyond that to fulfilling the campaign and, and all that. Like, he spells it out. He’s very, you know, he’s very experienced.

(46:47)
He’s run tonnes of successful Kickstarter campaigns of his own. And so I think that if anyone out there is wanting to, thinking about doing a Kickstarter but doesn’t really know how to go about doing it, it’s totally worth investing in this comics launch course. And it is an investment. Um, it’s, and I think you can actually, you know, count it as a tax deduction because your Kickstarter proceeds will be counted as income so you can deduct the course as expenses against that income. Um, but yeah, so that’s a free ad for Tyler’s comics Launch <laugh> course. But like, I’m, I’m totally sincere. Like I think it is such a valuable thing for me to have done. Um, and the Kickstarter, it launched earlier this week, you know, we’re taping this, um, second week of May, and it launched on May 7th. Um, my Kickstarter funded in 40 minutes and it’s on day five now, and it’s currently like 500 and something percent funded, which is way that’s beyond my wildest dreams of how well I thought it was going to do. I was like, if I can get $750 in 30 days, that’s gonna be awesome. So to get 750 in 40 minutes was just blew me away. Wow. So yeah. Absolute.

Sheydin Dew (48:24):
Congratulations. Thanks. Um, yeah, that sounds like, it’s so interesting to hear people’s like journey to do Kickstarters because everybody has such a different story, I find. Yeah. Um, and yeah, very admirable to hear your, uh, goals along the way and to now be there. Um, yeah, honestly, I I wish you all the best. Obviously it is early days, um, and when this does go to launch, you’ll be in your second to last week of the campaign, so, right. Yeah. All to all the future viewers. Make sure you go and check it out, um, because it’s well, well worth it. Um, I guess kind of, yeah, again, go and check it out when you can. Um, I guess kind of moving pace a little bit, um, now that this has kind of come to fruition for you, are there any other projects on the horizon?

Matt Schofield (49:16):
Just more steamroller, man, <laugh>, like

Sheydin Dew (49:21):
How many volumes perhaps

Matt Schofield (49:23):
You? Yeah, so initially when I first came up with the idea for this story before I, you know, because it’s the first thing that I’d done and it, and this is the first comic that I’ve really ever made. I, I was always, you know, I was one of those guys who always wanted to do a comic, even from when I was 13 years old, I wanted to work in comics. And, um, it’s not until now that I’ve actually gone like, you know what? Like, it’s, it’s put up or shut up time. Like if I’m gonna do it, let’s just knuckle down and just do it and stop, you know, procrastinating. Um, and so also because I didn’t work from a script, I had no idea how many pages it would take to tell the story that I had in my mind. So, as I said, I knew where the story would start, I know where it’s gonna end, and I know the various story beats, but initially I was like, yeah, I, I’ll just, I can do that in 22 pages.

(50:35)
Yeah, it’s easy. But then because I was working without a script and kind of getting there in an improvisational way, it just grew like the <laugh> the number of pages that I needed to get to, like the certain points in the story, I was like, oh geez. Like that took me like eight pages and I thought I was gonna be able to do that in one page. Um, <laugh>, okay, so I’ve gotta recalculate. And then, so, you know, then, then I sort of thought, okay, so then I’ll do four issues and there’ll be 22 pages each. Um, you know, ’cause 22 pages is the standard like American length of a, of an issue. And, um, even that, like I even the first issue of that when, you know, so when I decided it was gonna be four issues, I broke the story up into like, if it’s a three act structure, act one is issue one, act two is issues two and three and act three, the final climactic part of the story that’s issue four.

(51:49)
So I thought, okay, each one of those is gonna be 22 pages. And so then as I’m doing issue one still, like issue one has a 12 page musical number in it at the beginning. And that was not planned at all. That was again, just a, a joke idea that I had like about like, well, how can I introduce the main character? Oh, it’d be funny if he was like singing, like walking down the street singing, and then it became this big musical number. And then it was, you know, I was just coming up with jokes and it was like, oh, it’d be funny if you know this and coming up with like rhyming couplets for the song. And, um, then I would do like a visual gag to go with each couplet. And then, um, that ended up just expanding and expanding. And it was at that point when I was doing the musical number that people started asking me like, are you gonna print it?

(52:51)
This would be great in print. When are you gonna print it? And I was like, yeah, yeah, no, I wanna print it. I’ll definitely look into that. And when I looked into it, I realised, oh, if I want to get a quote on how much it’s gonna cost to print this, I need to know how many pages this, this issue’s gonna be. And I was like, okay, so I’m already 12 pages in, so that’s halfway <laugh>. And I haven’t even really established like, what the story’s about yet because I’m just doing a musical number <laugh>. And so that’s why the first issue ended up being 40 pages because I was like, uh, okay, it’s not gonna be 22 pages. I better wrap up this musical number and actually get into the meat of the story. Um, so then by the time I got to the first, the end of the first issue, which is a cliffhanger, um, it was 40, it was 38 pages.

(53:48)
And then for the Kickstarter, because it’s all online, I added two pages to the print version so that, you know, there’s a bit, a bit of extra stuff if you buy the, even if you’ve read it online already, there’s extra stuff in the print version that you haven’t seen that’s not online. So, um, so yeah. Um, I’ve got to, so my, my future plans are finish issue three, finish issue four. ’cause I still have the, the three act structure thing. So end of issue three is, um, issue three reveals, um, sugar Daddy’s origin story. You work out why he is the way he is and what his ultimate plan is. Kickstarter, um, sorry, I have frigging Kickstarter on the brain. <laugh>, i, I have made so many like slip up kind of speech things where I’ll just start saying Kickstarter <laugh>. It’s like, sorry, didn’t mean to say Kickstarter <laugh>. It’s crazy. Um, I don’t even know what I was gonna say. Um, just a

Sheydin Dew (54:58):
Reminder for everyone to go see the Kickstarter really <laugh>. Exactly.

Matt Schofield (55:01):
Kickstarter steamroll man.com. Um, anyway, <laugh> <laugh>, uh, so end of issue three, uh, sugar Daddy’s ultimate plan is revealed. And it’s sort of like when he kind of pushes, activate on the plan coming like, oh no, the doomsday button has been pushed, kind of thing. And then issue four is gonna be the big climactic battle where, you know, people live, people die. We’ll steam steamroller man, succeed, who knows? You know? Um, and so yeah, issue four is gonna be the end of this story. After that, like I have a tonne of, as I said, I’ve got a tonne of other ideas for more Steamroller Man stories that will introduce other characters and, and sort of build out his world. But for future stories, I am definitely going to at least plot them very carefully, <laugh>, so that every issue beyond these is a one shot and it’s just a done in one story that you can just read and enjoy. If you haven’t read any other Steamroller man stories, you can just pick these ones up. And it’s just a good sort of self-contained story. So beyond, and that was initially the plan for this story as well. It just was not very, well, it wasn’t a well-planned plan <laugh>, if we can put it that way,

Sheydin Dew (56:38):
<laugh>, but it came out beautifully nonetheless. So thanks.

Matt Schofield (56:41):
Yeah. I mean, it’s working out. It just wasn’t <laugh>, it’s just taking a bit longer than I expected it would.

Sheydin Dew (56:47):
So Yeah. Um, that’s so fascinating to hear, um, that whole process, um, from Kickstarter and to, um, seeing what it will come to down the line. Mm-Hmm. Um, I guess to kind of cap the end of our interview, um, I, I love also asking this question, um, especially for our viewers. Uh, yeah. What what piece of advice would you give to someone who’s starting their journey?

Matt Schofield (57:16):
Um, yeah, I would say, look, I, from the point of view of someone who procrastinated for literally 30 years, who has want, like, I’ve wanted to do my own comic since I was a kid and since I moved over here, I’ve gone to comic conventions every year and I always come away thinking, yeah, I want to do my own comic one day. Like every year, every year I would say, yeah, I want to do a comic one day. I want, I want to get my, my own booth at Comic-Con. And, but I never took that step to like, okay, well actually, like the first step is start drawing your comic dude, um, <laugh>. So my advice would be don’t be, don’t wait for your skills to be at a sort of hypothetical perfect level before you start just making your comic. Because that’s what I was doing.

(58:31)
Like, I was like, I would draw something and I’d be like, ah, yeah, but this, this looks like crap. I can’t do this. Or I would come up with ideas that were so complex that once I started writing them, I was like, I’d get discouraged because I was like, this is gonna take so long to do. Like, I, I can’t do this. Rather than just like starting, um, without a net, basically like, just, just jumping in the deep end. And it was only because, um, steamroller Man, um, only happened because it was, I kind of viewed it as a throwaway idea. ’cause I had, I and everybody I know, like I’ve talked to enough artists and people interested in comics that I know everybody has the idea for their grand epic, you know, Lord of the Ring style story in their head. And I do too.

(59:36)
And I thought, and I heard the, i the advice, and I think it was from, um, Xander Cannon who was, uh, an artist who does, or who did a excellent comic called Kaiju Max, which if you haven’t read, you should seek it out. It’s fantastic. It’s, um, it’s, uh, prison drama in a supermax prison for Giant Monsters. And it’s fantastic. It’s fantastic. It’s one of the best comics I’ve ever read. One of my favourite comics ever. Um, he, I saw, um, he wrote an article or something about, or it was in the back of one of his comics where he was giving advice to somebody who wrote in about this exact topic. And, and he basically said like, just start doing it. Don’t do a lot of, like, don’t worry about backstory. Don’t come up with, don’t spend time doing all these character designs because all that is, that’s delaying you from actually getting pages produced on your comic.

(01:00:46)
And the most encouraging thing that you’ll experience when you are doing a comic is finishing a page and finishing another page. So he was like, design your main character and then go start drawing your comic and design every other character. Just design them on the page as you need to design them. And I was like, yeah, that sounds good. That’s what I’m gonna do. And he also had the idea of start with something small and throw and, you know, like a throwaway idea that it’s not gonna matter if it doesn’t turn out good because he said, it’s almost guaranteed that your first comic is not gonna be good. It’s going to look like crap. You aren’t gonna be happy with the way it looks. Just accept the reality that that’s what’s gonna happen and that’s gonna be more freeing for you creatively. And so that’s what I did with Steamroller Man when I first started it.

(01:01:53)
This, this issue is not the first Steamroller Man story that I drew. If you go on steamroller man.com, you’ll see the first Steamroller Man story that I drew is much more primitive drawn than this. Um, and, but you know, I have to go through that to get to this. And yeah, it’s, so my advice is just dive in and start making your comic. You are gonna learn so much about making comics through the act of making comics. Um, as I was saying, as I was saying earlier in our conversation, every time I would hit a hurdle with, oh, I can’t draw knees, or I don’t know how to draw, you know, the way that a sh a a suit jacket folds when somebody’s wearing it. I have to learn that now. Like, and that’s the process you go through. Um, and also just recognise that every artist is on like a spectrum of artists with every other artist in the world.

(01:03:04)
And I don’t mean like the autism spectrum, I don’t mean like on the spectrum in terms of the autism spectrum. I just mean like a wide variety of like the colour spectrum, right? So there’s people, there’s always gonna be somebody who can draw better than you. And you are gonna look at going, oh my God, I don’t even know how they do what they do. I could never get to that level. And there’s always gonna be somebody who’s not as skilled as you are, who’s looking at you thinking that about you. Yeah. So that is also something that is freeing about, oh, I can’t draw. Oh, you know, because I don’t see drawing as some god given thing that happens at birth. No one comes out of the womb holding a pencil able to draw the Mona Lisa. We all do those, those scribbly drawings when we’re little.

(01:04:04)
And it’s a matter of, well, some people we’re encouraged as kids, like, oh, that’s lovely darling, I’ll do it again. Yeah. You know, little, little Jackie’s a good, good artist, isn’t he? You know? And then other people weren’t encouraged and so they just stop. Um, so it’s all a matter of like, putting in that, that groundwork and just putting in the time of it’s practise, it really is just a skill that gets better with practise and absolutely it won’t get better if you don’t practise. So doing, and I think, yeah, go ahead. Sorry, I’m talking too much.

Sheydin Dew (01:04:44):
No, no, no. It’s wonderful to hear. Um, I think also, like, like I said earlier on, I’m a firm believer in like artists, you’re never, you are always learning. Like there’s always something to improve. You’re never just going to get to that end point. That end point I don’t think really exists. Definitely.

Matt Schofield (01:05:00):
I think there’s

Sheydin Dew (01:05:01):
Always something that you can learn and from other people as well. Yeah. Um, and it was really, really insightful to hear, um, kind of your process and what you’ve learned from other people in this whole process of, of launching Steamroller Man. Mm. Liked the fact that you said, um, or encouraged to like, you know, you, you obviously have a main character ready, fleshed out and go for it. Um, but then you also said, um, like a bit of your secondary characters design them on the page. And I think that is actually a really wonderful piece of advice because, um, even as graphic designers, we are encouraged to almost work backwards. Mm-Hmm. If you were designing a character on the page, like if you’ve designed that character in like a character turnaround, very like static. Yep. Um, sometimes the, the shapes that you use, the, the clothes they wear or whatever, it doesn’t always translate very well onto the page.

(01:05:55)
So by doing so by putting it on the page first and seeing how it works, you can really need out those, those issues quite fast. And so I think that is a really wonderful piece of advice. Mm-Hmm. Different kind of approach to it as well. It’s not really your, um, classic approach in character design. Obviously having a main character ready to roll and you know exactly what they’re gonna look like is very important. Right. But I’ve never, I’ve never really heard, um, people vouch for that kind of approach. So yeah, it’s really, it’s really wonderful to hear. But again, I mean, that really concludes all of my, my questions for you, um, Matt. Oh, I was

Matt Schofield (01:06:32):
Having so much fun answering them <laugh>.

Sheydin Dew (01:06:35):
I’m really glad. Yeah. I try and make, um, obviously the show about one particular project for that person to promote. Um, but I also wanna try and, um, get a little bit of, uh, knowledge outta people and about their process, a little bit of their story story and how they got to be where they are today. Mm. So that’s the whole premise of the show. Um, but just to reiterate, um, before we wrap things up, um, can you let us know again where to find steamroller man?

Matt Schofield (01:07:05):
Yeah, so the Kickstarter, which is on now is@kickstarter.steamrollerman.com, which is up on the screen right now. And, um, if you want to just read the comic, um, everything I’ve done so far is up online for free@steamrollerman.com. Um, it’s broken down into issues because my intention was always to print it. Um, I’m, I have two complete issues, uh, sort of like a mini comic, which is the first story I ever did that’s 12 pages long. And, um, I’m halfway through, uh, or you know, maybe a third of the way through issue three. Um, I’m about 14 pages into issue three, so not quite halfway, but, um, but yeah, uh, if you want to just read it for free, I’d love, you know, just more people to become aware of Steamroller Man. And, um, but yeah, like, I, I really do want to get it, uh, anyone who wants a print copy, I, I’m all about print.

(01:08:10)
Uh, you know, it’s sort of ironic that I publish it as a, as a web comic, but I don’t really enjoy, like, I don’t have the patience to read comics on the web past about like 10 pages, but with a com, with a physical comic book. Like I can read those all afternoon, you know, so, um, same. Yeah. So I think, um, it’s just a matter of like whatever you are into, um, I want to get steamroller man out to as many people as I can through as many venues as I can. So, um, steamroller Man’s also on like, global comics and tapas and Comic Fury can find it there. Um, but then, yeah, my, my website is steamroller man.com, so

Sheydin Dew (01:08:58):
Yeah. Amazing. Amazing. And I mean, just to, again, to thank you for all your time coming on the show. Thank

Matt Schofield (01:09:03):
You. Thank you.

Sheydin Dew (01:09:04):
Letting us know about your little, your amazing comic creation, I should say. Thank you very much. Absolutely. So make sure, um, to all our future viewers, uh, to go and check it out, um, and support in any way you can. Um, I guess, yeah, again, thank you so much for being on the show. Um, Shane, was there anything else to book end our show today?

Shane ‘Sizzle’ Syddall (01:09:26):
Yes. I made a mistake at the beginning. It is not drink and draw this week. It is Comex recent reads this week. It, it’s it’s com uh, it’s drink and draw the real week that we’re in <laugh>. Yes. Not the week that we’ll be in broadcasting. So I just thought I’d add that there. And also I have paused it here on purpose, this picture ’cause I absolutely love those giant glasses. <laugh>, you have no idea. I hadn’t read any of the comic at that point, and I saw those and went, I have to read this <laugh>. Yay. I love that. Especially when you see that off they tiny little normalise, right?

Matt Schofield (01:10:04):
Yep.

Sheydin Dew (01:10:05):
Absolutely. I’m

Matt Schofield (01:10:06):
Glad, I’m glad that landed with you, Shane.

Shane ‘Sizzle’ Syddall (01:10:08):
It did. Big time. <laugh>.

Sheydin Dew (01:10:12):
Well, again, thank you so, so much for coming onto the show, Matt. Um, we wish

Matt Schofield (01:10:17):
You all thank you both for having me on the show.

Sheydin Dew (01:10:20):
Absolutely. Um, really

Matt Schofield (01:10:21):
Appreciate it.

Sheydin Dew (01:10:23):
An absolutely honour. Um, I wish you all the best. We wish you all the best for the Kickstarter, and I’m sure there’ll be many people keeping an eye out for what is to come for your series.

Matt Schofield (01:10:32):
Thank you both, so awesome. I had so much fun talking to you Shaden.

Sheydin Dew (01:10:38):
Amazing. Thank you so much. And, uh, thank you to our future viewers for watching. Um, we will see you guys in two weeks time, but otherwise, take care.

Shane ‘Sizzle’ Syddall (01:10:48):
Take care. Thanks. Bye everybody. Thanks everyone.

Voice Over (01:10:51):
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