Shane ‘Sizzle’ Syddall (00:11):
Hi everyone, this is Shane from Comex. This is the Oz Comic Show, and we are here tonight to talk to Morgan Quaid about, well, just about himself and about his new comic me. What have I been up to today? I have found out the hard way that a accelerated heartbeat does not mean that I am getting closer to the speed force. It actually means I have a heart condition. So I have a Holter monitor attached to me right now, so that’s a lot of fun. So yeah, they didn’t give me a red suit. They gave me a Holter monitor, which was a little disappointing. So, yeah, no closer to the speed force than I first thought I was this morning. So then further ado, let’s get on with the show and I’ll press the correct button button. And for the man, we’re all waiting for Morgan Quaid. Hey, afternoon, how are you? Hello.

Morgan Quaid (01:30):
How is everyone?

Shane ‘Sizzle’ Syddall (01:32):
Good, thanks. Doing awesome.

Morgan Quaid (01:35):
Good. Good, good, good. Thanks for having me. Excited to be here. This is awesome.

Shane ‘Sizzle’ Syddall (01:40):
Yes, excited to have you. Very good to have you. Thanks for coming. Yeah, so just tell us a little about yourself, how you got into comics. So we’ll start there. How you got into indie comics, I should say,

Morgan Quaid (01:54):
Any comics? Yeah. Yeah. So I started, I’ve always written loved writing anything imaginative stories ever since I was a kid for a while there. Tried to do writing novels and that sort of thing, getting published a deal and all that sort of stuff. Many, many, many, many rejection letters or just no response at all.

Shane ‘Sizzle’ Syddall (02:24):
That’s always fun.

Morgan Quaid (02:24):
Yeah, you do get a lot of responses. I used to get quite a few that would come back and say, oh, it sounds really good. It reads really well. It’s really good. We’re just not interested. It’s just not our thing. I even had one that said, oh, I’d like to hear more. Send me the first 50 pages, send the 50 pages through. And then she just came back with a one line that said, this doesn’t what I thought. Okay,

(02:53)
Maybe tell me what you thought it was, and I could do that. But no, it brutal. I did that for a while, didn’t really get anywhere with it. And then probably about six or seven years ago, I don’t even know how it started. I think I was walking past a comic book or someone had shown me something, and it was something by image comics in indie sort of comic, but a pretty big indie, indie comic publisher. And it just blew me away. I thought comics were Marvel, dc, Superman, Yee oldie, kind of where the printing overlaps with the colours and the old newspaper print works, not lining up that sort of stuff. So that was what I was seeing with comics. And then I started reading this thing and I thought, this is fantastic. It’s basically film in a book form. The imagery’s awesome, just went away. So then I just forked out a tonne of money on comics and started to just devouring everything I could, and then immediately was thinking, I’ve got to write a comic. I’ve got to start getting into this sort of medium. And then it kind of started from there. I just got stuck in straight away and thought, alright, let, let’s do it. Let’s get in. And

Shane ‘Sizzle’ Syddall (04:11):
That’s awesome.

Morgan Quaid (04:13):
Yeah.

Shane ‘Sizzle’ Syddall (04:15):
Yeah. So at the moment, your latest comic you’re bringing out is, oh, I keep forgetting this. Enmity,

Morgan Quaid (04:23):
Enmity, enmity. Yes. So part of the reason for the title is that this word, Mr. Trip me up something chronic. Every time I try and say it, I would get it wrong. I would put N before the N. So I used to say MT, and I was convinced I was correct until I looked it up and realised, no, that’s the other way around. So the way I think of it now is it’s just N, the letter N, and then Mitty as in Walter Mitty. So n mi, and it stuck in my brain now, so I can say it basically

Shane ‘Sizzle’ Syddall (04:54):
Have to correct me every time I say it. So

Morgan Quaid (04:57):
If it helps, just visualise the letter N and then mi n Mitty N. But it’s the whole two sides clashing, aggression, hatred, that sort of thing is that it’s the idea, and I just like the word and the way that it worked with the lettering and all that sort of stuff as well. And it’s kind of fun doing something that it’s difficult for people to pronounce.

Shane ‘Sizzle’ Syddall (05:22):
I’m sure it’s just me and you we’re probably the only people. So

Morgan Quaid (05:26):
It could be, yeah, I’ve been struck by that before where my family has had a way of saying a saying that everyone else says it differently, and I think Get off the grass. I still dunno how it’s said properly. You know that saying about, I think I know

Shane ‘Sizzle’ Syddall (05:45):
The one. Yeah, that’s a get off the grass, isn’t it?

Morgan Quaid (05:47):
Is it Get off the grass, or, anyway, whatever it is, my family was doing the wrong version of it that was just localised to our family, and I copped a bit of stick from it. So it could be us. We could be the only two that can’t pronounce N. Yeah,

Shane ‘Sizzle’ Syddall (06:01):
There you go. I butcher pretty much every second word I say, so it’s all good.

Morgan Quaid (06:07):
If anything, it’ll

Jerome Castro (06:08):
Be memorable that way.

Morgan Quaid (06:11):
Well, that’s right. Hopefully.

Shane ‘Sizzle’ Syddall (06:15):
Exactly. Exactly. Well, just so anyone knows, Morgan is running a Kickstarter, and that is the short link that I’ve created to get to it. So if you don’t want to check it out, that’s the way to get there. What we might do is I, do you want to go through the Kickstarter or do you want to go through it through your computer so you can drive, or would you rather do it through my screen?

Morgan Quaid (06:42):
I’m happy to drive. That’s no worries. Let’s see if we can do this without breaking things.

Shane ‘Sizzle’ Syddall (06:48):
Just the red circle and the X. Don’t press that. I’ve done that once in the middle of a show and I’ve disappeared and I’m the host. So yeah, it looked bad.

Morgan Quaid (07:01):
I see that. Yes. All right. Okay. We are doing this live. Let’s do it. I think that’s working. That was strange. So everyone, you can see that. Yeah. Yeah.

Shane ‘Sizzle’ Syddall (07:16):
Awesome. This is probably easier for you drive, because then you’re not asking me to go down, up and cross and all that sort of stuff. Yeah,

Morgan Quaid (07:22):
That’s cool. That’s not right.

Shane ‘Sizzle’ Syddall (07:24):
So just tell us about this actual comic. What led you to create it and make a Kickstarter for it?

Morgan Quaid (07:35):
Yeah. Well, so essentially it’s sort of a post-apocalyptic story that focuses on a girl named Daisy, who is this young lady here, or this young lady here as well, who’s kind of a rugged post-apocalyptic survivor. She’s fairly young, but she’s gritty and carries around spear with a dead crow in it just because, I mean, it’s the apocalypse. What else

Shane ‘Sizzle’ Syddall (08:02):
Did you do? Yeah, why wouldn’t you?

Morgan Quaid (08:03):
Exactly. So yeah, she’s pretty cool. The hook, I suppose, is that she’s searching for her father. The whole thing is about her trying to find her father and trying to find a reason, I suppose, for why he left and all that sort of stuff, what she doesn’t know. But what the reader knows pretty early on is that her father is Lucifer the devil, and the whole point is that he has pretty much been the balancing force throughout history of whispering in people’s ears and making people do sort of evil things to balance evil and good. But essentially he just hates his job. He’s fed up with it. He doesn’t want to do it anymore. So he essentially gives up, goes on a bit of a bender, just goes nuts, goes wild ends, basically fathering a child, but not hanging around to raise her because he ends up, I won’t spoil what happens, but he doesn’t end up hanging around. So it’s this whole it. It’s basically a daughter trying to find her father set against a post-apocalyptic background with lots of other weird stuff going on.

Shane ‘Sizzle’ Syddall (09:20):
Nice.

Morgan Quaid (09:21):
Yeah, that looks

Shane ‘Sizzle’ Syddall (09:23):
Awesome.

Morgan Quaid (09:24):
Said Lucifer. Yeah, the artwork’s really, really cool. So I went with, and if they’re watching, they’ll have to forgive me for butchering all of their names and everything, because there’s a lot of Russian names in there, and I just haven’t got them right. But Front Studio, they’re basically a comic studio and they do animation and other stuff as well. So I’ve worked with those guys. And the style, I kind of wanted something similar to chew the image comic series. So fairly straight lines, a bit stylized, but not too, and I love it. Absolutely love the style of the artwork.

Shane ‘Sizzle’ Syddall (10:05):
Yeah, it looks really nice. Yeah, that’s nice and sharp.

Morgan Quaid (10:09):
Yeah, it’s really, really cool. And there’s so much you can do with it. It’s for building different things out of it. It’s really cool. So that’s kind of cover number one. That was done by the guys at Front Studio. I also like the fact that the Devil and Lucifer on purpose looks kind of like Jesus, the normal depictions that you would see be, I’m going to

Shane ‘Sizzle’ Syddall (10:32):
Ask you about that.

Morgan Quaid (10:35):
That’s

Shane ‘Sizzle’ Syddall (10:35):
On, looked at it. When I first looked at it, I went, oh, okay, yeah, he’s in it. And then I looked at who it was and went, oh, okay, that’s him. Oh, that’s not who I thought it was.

Morgan Quaid (10:46):
Yeah. Well, so the rationale behind that with him was, okay, so this is going a little bit deep, but for those that want to, let’s do it. So Old Testament slash biblical Hebrew, there’s a book there called Job, which you may or may not be aware of. So you’ve got Genesis with and all that sort of stuff. And then you’ve got Job, and the whole premise of Job is basically Job is this guy that does everything right. He’s got tonnes of money, he’s got beautiful family, lots of property, everything’s going great for him. And then a character called, in modern terms, I would call him Satan, but in the original it would be like the adversary or someone like that. This Lucifer kind of character goes to God and basically says, well, look, dude, the only reason why this guy loves you so much is because you give him everything.

(11:43)
He’s got everything he could ever want. He’s rich, he’s happy. You take that stuff away, guarantee you, he will curse you to your face. And so that whole thing is basically like a bet where God says, okay, we’ll give it a go. I don’t think he will. Let’s try it. So it’s basically this. Everything gets taken away, and then he’s tested during this time, and the moral of the story is at the end of it, he loses everything and he gets it all back, and he never curses God. But the interesting thing that I really liked about that was the whole idea about this Lucifer Satan character being an adversary, almost like a court, like a lawyer. So not someone that’s working against God, but someone who is kind of working with God or as an employee of God, if you like, testing. Is this real? Is this a legitimate thing? Does he really love you? All that sort of stuff. So that was kind of the idea where I took this guy from. Yeah.

Shane ‘Sizzle’ Syddall (12:40):
Oh, real cool. That’s cool. Yeah. Okay.

Morgan Quaid (12:44):
This is the limited edition cover, but this is by Willie Roberts or some artists that I’m working with. A couple of other projects on that are going to be coming out later in year. Great. Yeah. That’s got more of your eighties, kind of New York City escape from New York, that kind of vibe.

Shane ‘Sizzle’ Syddall (13:04):
Yeah.

Morgan Quaid (13:07):
And here’s a couple of sample pages. Nice. I’ll be dropping more as the campaign goes on. It’s kind of being built as we go, so I’ll drop more stuff on as it comes in. Well, you even

Shane ‘Sizzle’ Syddall (13:17):
Have Abel and Cain.

Morgan Quaid (13:20):
Yeah, yeah. Abel and Cain. Yeah. The whole story is of course, Lucifer’s in the background, kind of manipulating things and all that sort of stuff.

Shane ‘Sizzle’ Syddall (13:32):
Oh, yeah. Cool. Yeah,

Morgan Quaid (13:35):
So lots of info there. There’s also a soundtrack with it, a bunch of songs. So if you watch the video up front, the music in, that’s the Enemity theme, and there’s a bunch of other songs in there. I was trying to put together almost like a playlist of what would the Daisy character be listening to.

Shane ‘Sizzle’ Syddall (13:54):
Oh, cool.

Morgan Quaid (13:57):
I kind of invented her. No one can say that. That’s what she wouldn’t listen to. So I Works, works. What are they going to say? No, no. She wouldn’t listen to a soul, A track called Soul Cake. Of course she does. Anyway, yeah, so that’s there as well. There’s the rewards, a bunch of different rewards there, a bunch of add-ons. So there’s a few other campaigns I’ve run or comics that exist, but I haven’t really pushed them through this platform as yet. But they’re there available in PDF as well.

Shane ‘Sizzle’ Syddall (14:32):
Oh, nice.

Morgan Quaid (14:33):
Yeah, so it’s some added extra ones there. Bunch of stretch goals. I’ve got Awesome. Covered by Moses May. His art style is just amazing. The next Kickstarter I’m going to do actually is going to feature his artwork. It’s great stuff.

Shane ‘Sizzle’ Syddall (14:49):
Nice.

Morgan Quaid (14:51):
There’s a pug that features in the comic. And so one of the things we thought would be pretty fun, because lots of people like dogs and pugs, if we hit this, we’re going to do just a normal sketch of the pug, and then we’re going to do Pug of the Apocalypse, kind of Mad Max style pug with hos and those riding old fashioned ones, all that sort of stuff. Although that would be pretty cool. And if we hit the upper mark, then I’m thinking we’ll add some more. We’ll do a short sort of spinoff and include it in the thing with the

Shane ‘Sizzle’ Syddall (15:26):
Oh, nice.

Morgan Quaid (15:27):
Yeah, there’s a bunch of stuff. That’s the team. There’s all the, so these are people I’ve worked with on different things. So even the pug portrait, there’s a wonderful person, Sasha Fennell. She does doodles by Donut, so she does drawings of pets and things. Really, really cool. Cool. I’m actually getting her to do that. The pug of the apocalypse, sort of one. Nice. Yeah, so that’s pretty much it. It’s got, I’ll just hang on. Let me see if I can drive and stop sharing. Yes. I’ve got a US based printer and an Aussie based printer. Oh, that’s handy. Yeah, so I can keep the costs down in the US for postage. That’s just a killer. Yeah. But also from Australia as well. If we’re going the other way, I am going to punish everyone in Australia for, so apologies to everyone else in the world, but if you’re in Australia and the US got you covered.

(16:34)
I ran a Kickstarter years ago when I was first getting into it for the Idle Thuggery, one of the, but my first sort of comic, and I had no idea what I was doing, didn’t do any proper research, just tried to get in there and give it a good go. I printed the comic in America, then I posted the comic to Australia, then I packaged it up and sent it back to people in America and all over the world, which was the dumbest thing you could have ever done. And I made no money at all. I just did not calculate that at all. I mean, I’m sure I’m not the only one, but man, what a mistake to make. It was good fun, but

Shane ‘Sizzle’ Syddall (17:16):
Good, good way to learn.

Morgan Quaid (17:19):
It’s a very good way to learn, and just stupid, just plain old. So this time, Rihanna haven’t gone that way this time. Learn the lesson.

Shane ‘Sizzle’ Syddall (17:26):
Oh, good stuff. That

Morgan Quaid (17:28):
Is nice. Do it the right way. Yeah.

Shane ‘Sizzle’ Syddall (17:31):
Cool. Yeah. Well, Jerome, I’ll hand you over to Jerome. He’s got some questions for you, and I will go monitor the comments while you ask questions.

Morgan Quaid (17:41):
Cool. Yeah.

Jerome Castro (17:42):
Okay. Let’s do some questions. It’s kind of a bit of a tradition here, so

Morgan Quaid (17:49):
Go for it.

Jerome Castro (17:50):
So yeah, let’s start easy. I’ve seen your Kickstarter, man, the things that you’ve made in the past that you have shadow’s daughter, you have Idol Tery, and what got you into writing Supernatural Horror?

Morgan Quaid (18:10):
Yeah. Well, I don’t know. I’d never thought I wrote horror until recently. I only realised you could kind of call this horror, and everything I write tends to have that horror bent to it, but I didn’t realise that. So I’m a really, really big fan of China Ville and weird fiction and that dark steam punky sort of weird stuff, which a lot of which is horror, but I just never thought of it as horror. So I think horror, and I think Girls on the Roof with their heads spinning around and The Exorcist and that sort of stuff, but it’s obviously a lot broader than that. But yeah, so I’ve only just recently realised. So I suppose the thing that attracts me to that is I love weirdness. I love things being unusual, and I love the sense of impending dread and that there’s something at stake here that the characters can’t see what you are seeing and they’re heading for it, and you are feeling it, but they can’t or can’t get out of it.

(19:22)
I like that kind of feeling. And it’s a bit perverse, I suppose. I think most writers are a bit perverse with this sort of stuff, but I like the control. I like being able to think where is the reader going to be at this moment? And then just surprise them on the next page, or just them not knowing what’s going to happen. And the same with the characters. The characters going to behave in a certain way, but they’re not. Yeah, I just like that being able to engineer a situation, whether it’s dreadful or horrible or dramatic, or there’s extreme loss or something that kind of has a hook in it. And I suppose horror is a really, really good way of doing that. And certainly, I mean, I’m not going to write romance or anything like that. I wouldn’t be able to. So yeah,

Jerome Castro (20:14):
I mean, horror subjects is always great, man. I mean, especially for these things. I mean, I enjoy these kinds of stories. It’s about post apocalypse, it has that, looking at your kickstart, it has this caustic horror sort of feel. It’s not entirely there, but there’s something creeping on the background. But

Morgan Quaid (20:38):
Yeah,

(20:41)
I’ll say without saying too much, the initial situation of the whole story is you have angels and you have angels, and then you have humans. You don’t have demons. So the whole demon thing is a myth. There’s no hell, there’s none of that sort of stuff. It’s basically just all of the angels that essentially work for God’s first children. They work for God, and then humanity and that sort of interaction. But as part of the process of the devil basically saying, I don’t want to do my job anymore, it throws that balance into chaos. And what you end up with is a situation where the world gets pretty much screwed up, and then you have two factions in the angelic hosts fighting against each other, and then you legitimately kind of have a bit of a heaven and a hell, angels and demons situation pop up. So it goes in that way, and that’s why there’s the apocalypse and all that sort of stuff. That’s really interesting. Yeah.

Jerome Castro (21:41):
Yeah. That’s super. So where did all this come from? When did you start getting interested in writing? Man,

Morgan Quaid (21:54):
I think when I was a kid, I’ve got a story I did, I think I was seven or eight or something like that. And it’s some sprawling labyrinth adventure where someone gets trapped in a labyrinth. And I had a read of it a couple of years ago, and as I’m reading it, I think, yeah, I definitely wrote this. It’s super wordy. It’s over the top, and it’s really getting into the nitty gritty, but it’s also just a lot of fast action stuff. I can be a very impatient writer. I want to get a lot in there and quickly and move through things quickly. I’m not really patient a lot of times, and you can see that in that early writing. But yeah, so I’ve always loved it, but it’s another thing to get to the point where you think, could you actually do this for a living?

(22:46)
And could you creative writing actually earn a decent income out of it and all of that sort of stuff. But yeah, always been interested, but always also loved film and TV and any of that sort of media, anything, sci-fi, fantasy, audio books, normal books, anything. I’m always kind of jamming something in the GaN trying to ingest something new to get some great little idea. And that’s why I like writers like China Ville, because his stuff is so dense and intense, and sometimes it’s hard work. Sometimes you don’t enjoy certain bits, but you’ll read a whole chapter and there’s one little idea in there that you think that idea itself is sensational. I could write a whole series of novels or comics just on that idea. So good. And that’s the stuff that I love. I just love these ideas and teasing them out and all that sort of stuff. And that’s all. This is just one idea. What if the devil got sick of his job and stopped doing it? Essentially, what would the ramifications be? And that’s what I love doing. It’s great. Yeah, it’s

Jerome Castro (23:57):
Cool. Yeah, so that you’re basically telling us that there’s more to this world, and we’ll be getting more out of it than anonymity. You said you always consume media, basically. So any movies, any movies, horror movies that you enjoyed, movies, books, anything that inspired you to push through this?

Morgan Quaid (24:31):
Yeah, yeah. Well, many. And again, I’m a bit of a media tart. Watch any, I’ll watch anything. The reviews will come in on a movie and they’ll get slammed on social media and they’ll hate it, and I don’t care. There’s always something good that you can get out of it, even if it’s a not great film. So I literally watch everything. The Schneider Cut was probably the most recent thing that I, Schneider or Schneider, am I sticking an H in there where it shouldn’t be? Anyway, that cut was the latest one that I watched, and all of the Marvel ones and those sorts of things. But honestly, anything sci-fi, even there was a foreign film that I watched, I can’t remember what it was on, but it was on one of the streaming services about a dude fighting almost like a Norwegian saga sort of thing, fighting these demon creatures.

(25:34)
His daughter had died, his wife had died, and he’s fighting these things. It was not a lot happened, really. You didn’t see much of anything happened. It was all moved and brooding and kind of this great landscape, and this guy, this really cool actor, I won’t tell you about the end ruin it, but it was just so well done. So even things like that, I’m not really watching it for the story. I’m watching it for the mood and for, because I’ll remember that. And then in three years time, I’ll be doing something and thinking, I remember that scene, and there were trees in the background and there was just blood hanging down on one, and it was, maybe I’m a horror writer.

Jerome Castro (26:15):
Pick apart the tropes around it.

Morgan Quaid (26:16):
Maybe you are. Yeah, and exactly. Yeah, all of these things. I’ve worked with a bunch of people in other areas as well as in creative endeavours, and you are often working with guys in particular who they want to write and they really enjoy writing, all that sort of stuff, but they never ever get to the point of finishing something or publishing that fear of putting yourself out there. But there’s also, I’ve noticed there’s a bunch of people that I’ve spoken with that I don’t want to watch anything else while I’m creating, because I’m going to end up plagiarising that stuff without realising that stuff. I don’t want to sort of, yeah, and it’s a legitimate thing. I’m the exact opposite. If I’m writing something with horror and steam punk, I want to watch every horror steam punk thing I can get. I want to read everything. I want to immerse myself in it. I want to even listen to weird music that might happen in those scenarios, because it helps the creative uses and from the

Jerome Castro (27:22):
Experts. Yeah.

Morgan Quaid (27:24):
Yeah, exactly. And that’s where my inspiration comes from. It’s from things. I mean, occasionally you’ll come up with something and you think, yes, that’s genuinely unique. No one else in the world has come up with that idea. I’m a genius. I’m a creative genius, and I’ve done this thing. And then two weeks later, you see it on a 1960s movie rerun, and you think, I’m not a genius. Didn’t

Jerome Castro (27:49):
In my idea that I’ve never told anyone.

Morgan Quaid (27:52):
It went back in time. I wrote it in my journal, even though I’m not that old. Yeah, I mean, it’s the same sort of thing with music. Yes, there’s legitimate copyright, and yes, there’s stealing people’s ideas, but also it’s very, very hard to be original. There’s so many things that have been out there before and been done. Maybe the best you can hope for is to put an original twist on an idea rather than it’s got to be so original. The other thing is, if it’s so original, people might not want a bar of it because it’s just too hard to digest. It’s like a David Lynch movie or something. If people just go, I feel very uncomfortable looking at this, I’m not sure what. And I mean, that’s legitimately, there are great artists that do that sort of thing. I do not think of myself as one of those artists. I’m much more comfortable in that. I want something that I can visualise the reader and what they’re thinking and feeling, and that’s kind of what I want to focus on. Yeah,

Jerome Castro (28:53):
That totally makes sense. Miles. Well, what led to the decision of you? Let’s talk about Enit. What led to the decision of doing the story in a post apocalyptic setting, and why the devil and his daughter?

Morgan Quaid (29:21):
Why not? Yeah. Okay. So post apocalyptic, it might’ve been because I was playing too much fallout. It might be

Jerome Castro (29:32):
Fallout for,

Morgan Quaid (29:34):
Or it might’ve been something else. I can’t remember. No, no. This is way before that. So I’ve never done a poster. I tend to try and shy away from the most popular genres at the time. So I’ve only ever done one zombie comic. It hasn’t seen the light of day yet, but it’s a twist on a zombie comic. I couldn’t do it just a normal zombie comic. Everyone else was doing them. So I don’t want to do This is easy. And same with superhero, the idle Faggy comic that I did. The only way I could do that was it’s a superhero comic from the perspective of an up and coming henchman, essentially someone brand new to villainy doesn’t know what they’re doing. So it’s the whole experience, but from that perspective rather than the normal superhero sort of stuff. So post apocalypse was the same sort of thing. It didn’t really interest me because there’s so much of it out there, but for this do proper

Jerome Castro (30:35):
World building to it.

Morgan Quaid (30:37):
Yeah. So I was kind of resisting it for a while. So the first idea was originally, in fact, the entity idea was just focused on the devil and what would happen if he didn’t do his job. And there’s angels versus angels, and they’re kind of, the whole idea is in they call God the divinity because God is neither male nor female and is beyond time and all of those sorts of things. But there’s an underlying theme that the divinity is missing or is so spread over all of the multiple realities in existence that they’re not present and the angels are kind of fending for themselves, which is where a lot of stuff comes from. So that was originally the idea, and that was all I was going to do, but it just didn’t have any heart. It would’ve been funny and a bit bloody action, but it just didn’t have any real heart to it.

(31:39)
And then I thought, well, if Lucifer is basically a guy going on a bender, but he’s also an angel, and so he’s just going to completely try and wipe away the last 3000 years of existence. He’s just going to go and do everything that he can. And part of that is, so he sleeps with some people, and then, well, what could happen as a result of that? Well, obviously someone could get pregnant and then, oh my God, then you have Daisy, the daughter of the devil, but she doesn’t know she’s the daughter of the devil, and she’s got some powers, but not big powers, but does she know she has powers and how does it manifest? And then it just made sense in the middle of all of that. Well, you can’t, again, I don’t want to do what everyone else has done. I don’t want to do her going to high school and having a crash on a guy, and while she’s got a crash on him, like, oh, my powers are coming through.

(32:34)
Oh, I blew your head off because of powers, whatever it might be destroyed a whole block, a city block. I could never love you the same. That just doesn’t interest me as much as she’s that age, but she’s just in a wasteland and there’s bad people roaming around in groups. There’s kind of these demonic, twisted creatures, and hint, hint, hint. There’s presences after her for a very specific reason that she doesn’t understand yet, or doesn’t even know, but, so I like this idea of her being hunted in this environment and being vulnerable and all the rest of it, but also just super kick ass, just yeah, nice. Really way stronger than she has any right to be. So essentially she was the last thing to come along. Daisy was the last one. And other things that I’ve written have a similar sort of character. So I like that kind of sassy mouthed young woman that just doesn’t take any prisoners and calls a spade a spade, that sort of person. So I really liked that. So putting her in this position made a lot of sense. I also really liked it because when I was writing the Lucifer character, I’m already in my head thinking of him as exactly the same type of person, smart ass, smart mouth, always trying to take the Mickey, even though he’s got one of the most serious jobs in the universe, doesn’t take himself seriously. So it makes sense that she kind of demonstrates some of that stuff, his kid, it’s a similar sort of, yeah.

(34:18)
Anyway, sorry, that was a long explanation. Hopefully. No, no, all good. Okay.

Jerome Castro (34:23):
It’s very cool, actually. I’m already getting some head cannon and going in there.

Morgan Quaid (34:30):
Cool.

Jerome Castro (34:33):
So how do you make this all up? I mean, what’s your process of your writing your scripts and building the story? Because that’s a lot to take in, especially if you’re doing it the older writing.

Morgan Quaid (34:46):
Oh, look, yeah. So in the writing process, in order of the hardest thing that I find and the thing I hate most, first, editing slightly below editing, promotion and selling things and all that sort of stuff, and filthy money and all that sort of stuff, right down the bottom, the easiest thing in the world is coming up with the story, the plot, the details. If I could just do that, if someone paid me just to come up with ideas, and what about we do this and we stick this here and we do that, nah, get rid of that and put that. If that was my job, man, I’d be the happiest guy. I love it. And I never struggle with, I mean, touch wood, I never struggle with writer’s block or anything like that. The ideas always there. I just tweak something or add something or restrict myself in a certain way.

(35:44)
I do something stupid. Okay, I’m going to write a short story, and it’s not going to have any words in it, nothing with an S at the beginning, even something as simple as that. And all of a sudden you have to think, oh heck, I’ve got to think of different words here than what I would normally use. And that’s a creative thing. Oh, wow. Yeah. So the actual process, my problem I find is, again, because I’m impatient, so many ideas, is being slowing down, taking time, making sure that the story paces itself correctly, that I don’t give away too much too early, that I don’t populate it with way too many characters, too early, all that sort of stuff.

Jerome Castro (36:25):
And then you need to side that back.

Morgan Quaid (36:27):
Yeah, exactly. And probably my biggest problem is complexity. I love complexity. And so I try and just focus on one chapter of one person’s story and follow that through. But you can bet in the background, there is just a whirling universe of stuff I’ve already thought through what’s going to happen. Even enmity, which is the one that I’ve resisted this with the most, I’ve already started writing historical treaties on the apocalypse. And so the idea is it’s an old historian that survived the apocalypse, found his way into a bunker, and found reams of paper and a laptop and enough power and a printer, and that he could actually, I can write a history of the apocalypse before I die. So he is kind of tapping away.

Jerome Castro (37:22):
That’s awesome.

Morgan Quaid (37:23):
But the whole thing is, it’s just an excuse for me to flesh out all the ideas of the larger world that I’m thinking of. So that’s what I struggle with is containing that stuff. It’s very hard for me not to let it go, and then it just becomes exhausting. It comes this massive thing. But I love it. I absolutely love it. So the ideas aren’t usually an issue. This is why I don’t write novels anymore though, because the editing process for those things is, I mean, I can look at the same spelling mistake 50 times, and it’s still going to stay there. I’m still going to miss it every time. And then you’ll put a book out there and all these people will come back and say, yeah, it was a good book. Riddled with spelling mistakes though, and grammatical errors. I know. I know. But I don’t want to pay four grand for someone to edit this thing properly. I know I should. So yeah, I hate editing,

Jerome Castro (38:19):
Man. You could have gotten me as an editor for it, and I’ll be more than happy to read it for you,

Morgan Quaid (38:25):
Dude. You should not be saying that. Do you know how many draughts I’ve got through? You’re on

Shane ‘Sizzle’ Syddall (38:36):
If we hop in? Oh, sorry. Yeah, yeah, yeah. I was just going to say, we’ve got a question here from the audience. This is a new one. I haven’t had a question before for Morgan.

Morgan Quaid (38:49):
Cool. Cool, cool. So do I usually come up with a character first or storyline, and then come up with a character to suit? Most of the time, I’d say it starts with an idea. So even before a character, it’s an idea. It’s a central idea. This is why I like writing short stories and stuff, because they’re just essentially an idea that you flesh out a little bit and see what happens. So water levels rising. What does that mean? I mean, unfortunately, we won’t get into that one, but I wrote a story about a guy sitting on a big pole thing with a little plinth on the top of it, just sitting there, cross-legged, kind of like a yogi kind of person, spouting wisdom, and while the waters were rising all around, and then you just start thinking about how does life go on when that’s happening, what happens with, do things start to rot?

(39:54)
Do they start building on top? I mean, that’s not my best example at all, but usually it’s an idea, and usually it’s something like I’ll be watching a movie or reading a book or something. This is why I find it hard to read books nowadays. You’ll be reading a book. Okay. Okay. All right. This is it. So I haven’t written this so it’s not plagiarising, but if I was going to write it anyway, so one of Petito Street Station, China IL’s, probably his most famous book. There’s this bit in there, this tiny little bit that there’s an ambassador, right? There’s a whole bunch of ambassadors that are in this massive building, and they’re going to this ambassador to ask about a problem because something’s impacting the city, and they need to kill these things, moth things. Anyway, so the whole thing is, I’m getting to it.

(40:45)
Trust me, I’m getting there. So the whole thing is they go to meet this ambassador, but the thing is, this ambassador is a demon in hell. And so they’ll make all these precautions when they go in there, and then they go inside and to open up this kind of portal and this speaking mechanism with this demon. They have got this little guy who has a machine that he sets going, and the machine calculates numbers and stuff that, whatever you want to say speaks in a demonic language or whatever that opens up this portal. Just that little idea, just that one thing. A machine that can speak demonic languages and open up a portal to another world that’s 10 novels.

(41:32)
Exactly. That’s a massive thing. So usually it will be something like that that I think, God, I love that idea. That’s such a good idea. I’ll start with that. And then I’ll think, what does that mean? What could that mean? What happens? Who are they contacting? So who’s your villain? Or is it not a villain? Or is it, and is something coming through from that other side? What’s the barrier between the two? So usually it’s just spitballing that stuff for a little while, and then the characters typically come later, except for the devil, the Lucifer in this in en entity, because it kind of started with him, but it started with him and the idea of him not wanting to work anymore, which I’m not going to say that maybe I was feeling a bit like I don’t want to do my day job anymore. I’m not saying necessarily that’s where it came from, but I think we’ve all been in those positions.

Jerome Castro (42:24):
We’ve all been there.

Morgan Quaid (42:28):
Sometimes they happen at work and you think, ah, I don’t want to do this anymore. I wonder if the devil has the same thing. Yeah. So sorry for the long-winded answer. But yeah, it’s usually idea first, then characters around it and trying to invent characters that are real, but also distinct from the other 20 characters that I’ve already written. Because otherwise they all just end up being the same dude or the same girl, or the same tentacle monster or whatever it might be. Yeah, no worries, man. Not a problem.

Jerome Castro (43:01):
Thanks. Non inspirational gaming. You certainly sound inspirational, man.

Morgan Quaid (43:08):
Thank you.

Jerome Castro (43:10):
So actually, that idea you just said, I wish I could have nicked that earlier. I already have something going in my head.

Morgan Quaid (43:21):
I haven’t written that specific idea. I will say though, in a comic that I dunno when it’s going to be coming out. It’s actually four issues are ready to go. So I’ve got this in my back pocket. It’s one of the big ones that I’m holding onto. If

Jerome Castro (43:36):
You eventually find a novel out that has that idea, it’s come back to me for the royalty.

Morgan Quaid (43:43):
No. Well, it’s technically already in there, but it’s different. I’ll put it that way. It is different, and it’s not talking to hell per se and everything, but yeah, the idea is, yeah, I’ve already ripped it off to some degree, but it’s different. It’s different enough. Yeah.

Jerome Castro (44:02):
So yeah, of course your story will have its villains. I don’t think we’ve met yet the villain for your story, but if anything, how do you make your villains compelling?

Morgan Quaid (44:19):
I think it’s like good cinema. I think the villain can’t be black or white. They need to be grey. They need to be a love of villain. Who cares for people legitimately doesn’t pretend, but a villain who is villainous because I will do anything to protect my children or to protect my life. I want to live on forever, so I will destroy everything else. I like villainy, that’ss a reason for it. Other than that dude’s pure evil, or he’s got something like some metal thing in his head that’s making him prayer or whatever. It was a Tuesday and he wanted to destroy a village, right Tuesday. Yeah. I like the idea of having a guy or a girl who is, yeah, there’s a reason for it. There’s some depth to it, and there’s feeling, and it’s kind of relatable that you think, well, I can see why they would be like that to some degree.

(45:21)
I mean, it’s still horrible, but even also, even the villains that are the big alienesque, kind of the ones that are coming from outer space and we can’t understand them, they’re completely beyond our comprehension, those sorts of things. Or they’re here to just take us all over. For me, it can’t be enough to just be, I’m conquering the universe. I got to conquer the universe. It’s just what I do, bro. It can’t be that. It’s got to be a good one. I really like, which features in one of my other things is hunger. The whole idea of we periodically need to purge and we need to destroy by devouring because of our insatiable hunger. That’s a legitimate need that we can all understand. So things like that, or loss driven by loss or really that sort of stuff, which you see heaps of these days go back 20 years, and it was more like, oh, he’s evil. He’s just evil. And the good guy. I like the switch actually. I like the fact that evil characters now can also be believable and understandable and partly good. But I also like the fact that good characters now can kill dudes instead of the old days where it’s like, ah, you’ve killed 50 people. I’m the hero. I will surely lock you up or teach you a darn good lesson.

(46:55)
Seriously, superhero. You’re not going to snap the dude’s neck. Of course, you’re going to snap the dude’s neck. He’s horrible. He’s just killed all these people and he’d do it again if he got jam. Yeah, I like the word switched in a lot of stories these days because it’s more believable. It’s the same as swearing. Men have gone overboard, though. Same as swearing in film and TV and all that of stuff. The amount of times, and this is censoring in American TV and all that sort of stuff. So I get the reasons why, but the amount of action films where it’s like, this thing is trying to rip my heart out, or there’s aliens attacking or whatever, and not one F bomb and not no one. And you think, I mean, really, it would just be, I mean, if it was me, it would be a string of obscenities. There would be nothing else. Every word would be just obscene.

Jerome Castro (47:49):
It’s pretty deteriorating or same.

Morgan Quaid (47:52):
Yeah, it’s the end of the world, man. It’s the end of the world. Yeah. Sorry, I can’t remember what the question was. No,

Jerome Castro (48:00):
No. It’s about compelling. You answered it quite clearly. What they call that phenomenon now is a tan of effect. I think I remember reading that from somewhere.

Morgan Quaid (48:13):
Yeah, he’s the most recent one that I’m thinking of that that is a legitimately good reason for a villain to be a villain. And I love the scenes at the end of movies where it’s actually, so FY, I have a theological background from years and years ago, so I studied theology and philosophy and all that of stuff. So that’s hence the angels and demons and all that sort of stuff. But that’s why I’m thinking as well, there’s something godlike about at the end of that movie where Thanos says, basically, what are you going to do after it’s done? After you click your fingers and half the population’s gone, I’m going to go to my garden and I’m going to just rest. I mean, that could have been taken right out of the earlier chapters of the Bible, the creation story,

Jerome Castro (49:03):
Creation story. Yeah.

Morgan Quaid (49:05):
God creates this, and then he rests, and then he creates this and he rests. So this whole idea of doing the work, and then once the work is done, I just sit down and I rest, and I get that vibe from Thanos as well. Once I’ve done the important work I need to do, then I’m out of the picture. I’m just going to sit down. That’s pretty cool.

Jerome Castro (49:23):
Yeah, yeah.

Morgan Quaid (49:25):
But they got him with the time travel, you see, with time travel, and as my son would say, but as soon as you’re doing time travel, you just go back five minutes earlier and then undo that thing, and then it just, yeah,

Jerome Castro (49:41):
He knows the grandfather Paradox.

Morgan Quaid (49:44):
Yeah. Yeah. It’s a tricky one. It’s the same as the Ah. And I woke up and it was all a dream like, ah, come on, man. That’s just lazy writing. It wasn’t all a dream.

Jerome Castro (49:57):
Yeah, I know. That’s cool. That’s cool actually. Yeah. And oh, I think I found your doing a bit of research from a few days ago. I saw something about Shadow’s Daughter. You have it as a web comic, right?

Morgan Quaid (50:18):
I do. Yeah. That’s my first and only web comic. It’s a weird thing doing a web comic when you’re not an artist, when you to obviously rely on other artists, because obviously in awe of the artists that I work with, I think they’re amazing. And one of the, so I’m a musician, so I can do music, and I write obviously, but just art is one of those things and drawing, and it’s one of those things that you just look at and you think, should I just devote the next 15 years to learning how to do that? And really kind of probably mediocre at it. And in the end you decide, no, no, that’s silly. Get other people that are good at it to do it. You can’t do everything. But man, every time I see something that these guys do, I think, oh, but yeah, the web comic’s really different.

(51:12)
Medium vertical scrolling comic. So part of it was me just exploring a new idea. I started it years ago, the new idea I hadn’t done before, just working through how does it work? And yeah, it’s been going a few years now. I did it for a year and then stopped for a while, and then I’ve come back recently and had a Kickstarter campaign just recently for a print version of it, and that’s really good. That story is a really cool sort of urban fantasy sort of story with another strong female lead who basically manipulates shadow as a physical force that she can do. Cool. And yeah, it’s based on a novel. It’s a novel that’s fully written but not edited because edited, it’s fully written. So I have the full sweep of that first gigantic arc in there. And I think we’re about, in terms of a print comic, we’re about 80 pages in, and we’re not halfway yet in that story.

(52:25)
So it’s got a long way to go, but it’s pretty good. But it’s also the only manga esque kind of thing that I’ve done, because it’s got a kind of manga kind of vibe, which is pretty cool. Again, I’ve never done anything like that. That was really cool, and that was just great fun. And it’s a thing I like because it’s partly me. It’s something where I get to create because I’ve got to put them together, so I get the raw art and then essentially piece it together in the vertical format with the text and all that. And it’s just a really cool creative thing because it’s a different form of writing, and you’ve kind of got to do it by episode and at the back of the bottom of the, yeah, and you need a hook at the bottom to get them to want to read the next one.

(53:17)
The problem is the time it takes for the artists to get the work done. So I’d love to say go forth artists and every day bring me more arts that I may put this together, but it just takes ages to do this stuff. So at a minimum, it’s weekly, but it’s usually every fortnight or sometimes three weeks before I can get a new one up there. And the fans get a little bit impatient, obviously taking a while, but it was a really good experience, and I’m going to continue it and keep doing the odd Kickstarter for people that want the print version as well. Nice.

Jerome Castro (53:48):
Yeah. Yeah, it’s nice because I have read it for quite a bit, the shadow thing. It’s based, actually, I’m not sure if you got the idea from that, but it’s from an old Japanese tales where people can sue shadows into earth. So yeah, it’s a general idea from old folklore. So I was like,

Morgan Quaid (54:15):
So cool. Can I say that? I did know that. Even if I didn’t, I’m going to do some research now. Yeah, I totally knew about that. I’m not going to get on Google after this all over that. Yeah, that’s

Jerome Castro (54:33):
Cool. We’ll cut that out. So I also was your website, super serious.com. Yeah. I saw you were reviewing comic books. So what is your criteria for you to tell that something is really good? What’s your criteria for a good comic book?

Morgan Quaid (54:57):
Yeah. Well, so for super serious comics, for the review side of things, I made a decision a while ago, A, because I was just busy, and also it takes a lot of effort to critique and all that sort of stuff. So I wanted to make sure I actually want to do this. I don’t want it to become a Titan thing. But also, India artists and creators put a lot of effort into this stuff, and a lot of them know, look, it’s not got the best artwork. I didn’t hire a professional letterer. I didn’t, they know that. So I wanted it to be something I pretty much wanted to decide upfront. I either will or won’t review something. So if it comes in and I just can’t review it, I’ll just apologise profusely and say, look, it’s probably not ready for review. Maybe here’s some suggestions, whatever.

(55:50)
Most of them don’t, most of them I’ll take even if they’re rough and ready, because I think people deserve to have something reviewed and in a positive light. So it’s a bit of a deep way out, but I tend to focus on the positive and try and see what went well here, what really worked, and the stuff that didn’t work too well. I just don’t mention, frankly, unless there’s something really glaring that’s just horrific. But even in the past sometimes I’ve sent a private message to the author or the creator and said, Hey, you might want to change this or that, but not in public, because there’s tonnes of people reviewing tonnes of stuff, comics, film, all that sort of stuff. It’s the easiest thing in the world to be a critic because it’s easy. There’s any criteria you can use to critique something and go this and that and that. And I think I’m not, yeah, that’s not what I wanted to do. So it’s kind of part promotion part, trying to find the good in comics and get it in there. The things that you can tell the ones that I really like because I’m a little bit over the top with

Jerome Castro (57:00):
You glowing with a review.

Morgan Quaid (57:02):
Yeah, absolutely. And in terms of reviewing, they’re just the easiest thing in the world to review. It just writes itself because it’s just a pleasure to read and review. Whereas some of them, they’re a little bit harder because the artwork isn’t up to scratch or the writing doesn’t gel, or it’s hard to follow what’s going on. They’re tougher and they take more time. But my hope is that everyone gets sufficient playtime that they’ve got at least something that they can kind of hang their hat on and say, I know I could have done better, but at least where I am now, someone has read it and said, these things are good. And like I said, I’ll send a private message to someone and say, oh, what you might want to improve next time is this, this, and this, and this. And again, I haven’t been doing this for 70 years.

(57:56)
I’m not the Stan Lee of Indie comics, so I can only go on what I know and what I’ve experienced. So I don’t want to be the judge and all that sort of stuff. So I don’t do five bananas or 16 chain out of 58. I was thinking of doing the Conan O’Brien thing that he does in ther one where he clueless gamer, where every time he rates the game with a different standard, so it doesn’t make any sense. So one day it’s five chainsaws out of six, another one it’s six watermelons out of 18 or whatever. Doesn’t make any sense, I would call idea. But

Jerome Castro (58:36):
Yeah, that’s super cool. Actually, if you think about it, because I do the reviews for comics. So we always do our best to show off the positives from the people that do in the comics, because it’s community and people need to know which ones are good and what are positives for each one. So well, let’s go back to your process. I mean, when you write your stories, how do you get into the moon? How do you put your mindset into go into that writing mode? How do you do it?

Morgan Quaid (59:19):
So this has taken a while for me to get to the point where I really understand. I think there’s two things for me. The first thing is knowing exactly when you write best. So for me, I write best early in the morning. I mean, if I’m leery eyed and I’m talking five o’clock in the morning to seven bleary eyed, I’m half awake, but my brain is incredibly sharp at that time of the morning, and in two hours or even an hour, I can get five times the writing done than I could at any other time during the day, even if I had five times the amount of time. So just knowing if you’re a night owl or a morning person or whatever it is, and when you can hit the right thing. So always try and do the writing at that specific time. Also, just knowing I don’t, so all the best writers from what I hear, like you, Stephen Kings and those sort of guys, they all say you discipline yourself.

(01:00:19)
You sit down and you write 10,000 words a day no matter what. You’ve got to get into that discipline of, and I completely get the reason why, and I understand it. I get that I prefer the, and this is not saying anything about me as a creator or anything. I’m not comparing myself to this dude in any way, shape or form. I’m DaVinci. I’m not saying that I’m a genius like DaVinci. That’s for other people to say, no, I’m joking. But the thing about DaVinci was he famously finished 1% of the projects that he worked on, and he was known for Something will take his flight of fancy and then it’ll zip over here and he’ll just invest everything in that, and it’s something else. So a bunch of stuff doesn’t get finished, but he goes where his brain is, and I’ve found I’m much more productive when I do that.

(01:01:11)
When I get hot on an idea, I just run with it until the steam runs out, and I’ll get a tonne of work done in a very short space of time. Then I usually have a break, do something else, come back to it later on. But I’ve found that I’m much more productive when I go with the momentum of an idea that excites me rather than plotting through and just trying to make it happen when it’s not happening. Having said that, if you’ve got deadlines and you’re working with a publisher and you need to by a certain time, you just force yourself to do it. You can’t not do those things.

(01:01:44)
But definitely the time of day and going with the things that are really triggering my imagination at that moment, that’s kind of how of it. Then the other one is, I’ve completely forgotten, but I’ll throw a third one in there. I can’t remember what I was going to say. The other thing is when you’re writing, it’s not quite stream of consciousness, but the temptation is always to go back and edit as you’re going and grammar and fix writing. Whereas if you can just dump the ideas in a stream and just keep, don’t worry about spelling, say just dump, dump, dump. You get an idea, you jump forward a paragraph, you dump that idea, you go back, and then it just means you can be incredibly quick in spreading out the basic idea of what you’re doing. And then essentially it’s compiling, changing, twisting, all of that sort of structural stuff. But that first initial burst. Yeah, I think is a really cool way to go. There was another thing I was thinking about. I can’t remember it. Let’s just pretend it was really cool advice and everyone thought that was really wise. It’s well done.

Shane ‘Sizzle’ Syddall (01:03:00):
That was great. Thank you. That’s going to help me so much. It’s going to help me so much. Thank you Gordon Morgan.

Morgan Quaid (01:03:06):
No worries. That’s a tip from Gordon to you.

Shane ‘Sizzle’ Syddall (01:03:12):
I know why I said Gordon. Then I think i’s combine your names on the screen. I think

Morgan Quaid (01:03:17):
I can be Gordon. Gordon. What would I be like to be Gordon? That would be a cool idea actually. If everyone changed names in one day, everyone changed names, but they were aware of their old name. What would that do to, anyway, that’s another idea.

Shane ‘Sizzle’ Syddall (01:03:32):
Another idea might do

Morgan Quaid (01:03:33):
Nothing.

Shane ‘Sizzle’ Syddall (01:03:37):
Okay. So what we might do is we’ve hit the hour mark. So is there anything you’d like to say, Morgan, about your Kickstarter before we let you go for the night?

Morgan Quaid (01:03:54):
I’d say look of an interest. You get in, have a look, have a read. If you’ve got any questions, feel free to send me some stuff through. I’m going to be dropping some more videos and sketch content and then full pages as the campaign progresses so there’ll be more coming. But yeah, get in touch. Send me an email or a note if you want to know more about it. And yeah, and thank you for anyone that gets involved. It’s really appreciated. You’re not just kind of helping with one little idea. You’re helping with a whole bunch that I’m producing as part of the super serious

Shane ‘Sizzle’ Syddall (01:04:32):
Comic

Morgan Quaid (01:04:33):
World. So I mean, we’re probably talking in the vicinity of 10 in the next year or so. So it’s helping build an indie comic kind of publishing house if you like. If we, yeah,

Shane ‘Sizzle’ Syddall (01:04:47):
So thank you. Well, we’ve already got a backer here for you.

Morgan Quaid (01:04:50):
Oh, cool. Thank you very much. Nice for being

Shane ‘Sizzle’ Syddall (01:04:52):
There. Yep. Not inspirational gaming.

Morgan Quaid (01:04:55):
Awesome. Thanks so much.

Shane ‘Sizzle’ Syddall (01:04:58):
Cool. Well thanks for coming on tonight. Yeah, it’s been great chatting to you.

Morgan Quaid (01:05:03):
Cool.

Shane ‘Sizzle’ Syddall (01:05:03):
No, that’s okay. That’s okay. Thanks for sharing all that. That was awesome. Really brain’s not working. It’s all these attachments making me so itchy. Informative. That’s the word I was looking for. I kept going to say inspirational, but informative is the word I was looking for. Very informative. That was really cool to hear the workings behind what you do. So that’s really cool. Thank you for that, Morgan.

Morgan Quaid (01:05:30):
No worries. Pleasure. Thanks for having me. It’s been great. Yeah, thanks for letting me make your brand. Jerome. I’ll be sending you a tonne of stuff to edit,

Jerome Castro (01:05:42):
Even if you just need extra set of eyes to give it a read, hit me up.

Morgan Quaid (01:05:48):
Fantastic. Good stuff. Cool. Thanks guys.

Shane ‘Sizzle’ Syddall (01:05:52):
Cool. Thank you very much, Morgan. Have a good night.

Jerome Castro (01:05:54):
See you. See you Morgan

Morgan Quaid (01:05:55):
There. You guys

Jerome Castro (01:05:55):
Take care.

Shane ‘Sizzle’ Syddall (01:05:59):
That was awesome. Thanks Rome. Yeah, good. Yeah, I won’t go into the other Kickstarters tonight. We’ll do that next week. I’m getting very itchy here, so I think we’ll call it the night. All these little things stuck all over my body and I’ve been shaved where I’ve never shaved before and I need a drink. So

Jerome Castro (01:06:22):
I just wish I can get some sleep tonight with all those itchy things,

Shane ‘Sizzle’ Syddall (01:06:25):
With all the wires and everything. I hope I don’t accidentally unplug one throughout the night as well. Yeah, and thanks for the awesome show. Thanks for the awesome audience. Thank you. Non inspirational gaming. Very interactive today. And thank you, Jerome. You have a great night and see you next week. Same time, same channel, everyone. 8:00 PM Eastern Australian, Eastern Standard time Wednesdays. See you then. Goodnight everyone. See you guys.

Jerome Castro (01:06:56):
Goodnight. Goodnight you.

Shane ‘Sizzle’ Syddall (01:06:58):
Goodnight Joan.