Shane ‘Sizzle’ Syddall (00:08):
Hello, this is Shane from the Oz Comic Show. I’m here with Jerome.

Jerome Castro (00:13):
Hey guys.

Shane ‘Sizzle’ Syddall (00:14):
Hey Jerome. And tonight we’ve got a action packed episode with Duncan Cunningham from Crucifix Executioner Comic, the creator of it, I should say. And we’ve also got the Comex Studio team from Issue ones, so that’ll be later this afternoon. So let’s get on with the show. Hi everyone, let’s just bring Duncan in. Hey Duncan, how are you?

Duncan Cunningham (01:11):
Good, how are you?

Shane ‘Sizzle’ Syddall (01:13):
Good, thank you. So we’re here to talk about yourself and how you got into comics. So how did you get into making comics?

Duncan Cunningham (01:23):
Oh, firstly, I started off making a film. So I made a film and then I realised that I couldn’t really grasp what I wanted to do in a film wide, budgetary setbacks and all that. So then that’s when I decided to move over to the comic book form of storytelling. So got into that, I realised you can pretty much do whatever you want in a comic book. You just got to tell ’em to draw. Yeah, volume one was more of based around the a low budget film, but then I sort of changed a few things getting through it. And then by volume two, the one that we’ve got now, I’ve just realised that we can do whatever we want. So we’ve got bikes, we’ve got strip clubs, we’ve got animals, we’ve got crocodile wrestling, everything.

Shane ‘Sizzle’ Syddall (02:16):
Awesome.

Shane ‘Sizzle’ Syddall (02:19):
It looks

Shane ‘Sizzle’ Syddall (02:20):
Really good.

Duncan Cunningham (02:22):
Yeah, so that’s what got me into it. It was back in 2013 originally when I had the epiphany when I was walking around super over there talking to the comic book creators down there, and I go, hang on. I don’t need to be an artist to get this going, bing. I just got to hire a good team.

Shane ‘Sizzle’ Syddall (02:39):
Oh, awesome.

Duncan Cunningham (02:40):
Yeah,

Shane ‘Sizzle’ Syddall (02:42):
And it’s lots of great things have come from it, so that’s awesome, because I’ve got the first one and now I’m waiting on this one. So Jerome, have you got any questions for Duncan?

Jerome Castro (02:54):
Yeah, of course, of course. Let’s see. Okay, Duncan,

Jerome Castro (02:59):
Let’s start with a quick question first. Were you ever a comic book fan when you were younger? And what was your first comic book, if anything?

Duncan Cunningham (03:12):
I was very much a comic. I probably got thousands of ’em under the house, actually. So I think I started collecting comics back when I was, would’ve been about four or five. My granddad used to take me around to the news agents and all that, and I just remember I had Superman Batman comics as a real young one, but one of the main ones was when I was a little bit older. My granddad took me over and I got the incredible Hulk. I just remember the cover of the Incredible Hulk was Incredible Hulk versus Dr. Samson and Captain America on the front cover, and I just thought that looked awesome. It was back when he was the Smart Hulk. Yeah, I really got into the Smart Hulk. That was the one I could remember reading as a kid because the juggernaut and all that had all the real cool, and I forget the artist’s name that was drawing that back in the day. But yeah, got into credible Hulk, collected Hulk Spider-Man, Superman, Batman. I liked a lot of the verses crossover Marvel versus dc. I really enjoyed that. Then the mix genre between DC and Marvel with Night Claw and Superboy mixed with Super Spider-Man and all that. And then I collected trading. Oh yeah,

Shane ‘Sizzle’ Syddall (04:22):
Amalgam or something I think it was called.

Duncan Cunningham (04:23):
Yeah, they all got mixed in together. So yeah, mortal Koba comics and Spawn comics, and pretty much whatever I could get my hands on, I used to go around to all the old secondhand bookstores and try and find out about butter, said, oh no, those comics in black and white, I don’t want them. Little did I know was like X-Men issue three that I’ve stumbled across me as a young fellow, didn’t like the black and white comics. So I found, think I found Avengers three, but I think it was an Australian print I found out later on, so it wasn’t worth that much.

Shane ‘Sizzle’ Syddall (05:01):
Yeah, Australian reprints, they were all black and white. Yep.

Duncan Cunningham (05:04):
Yeah.

Jerome Castro (05:06):
Why did they do that for Australian reprints, if anything? Why were they black and white, do you know?

Shane ‘Sizzle’ Syddall (05:14):
I think it was just, it was cheaper.

Duncan Cunningham (05:17):
Cheaper than the original. Yeah. But because they’re reprints of the originals, they just were not worth anything. They had the Australian reprint on ’em, so yeah.

Jerome Castro (05:29):
Well, you told us a few minutes ago that your frustrations with your film, with what you can do in your film inspired you for your story, but were there any sort of fictional ip? Are there any IP that inspired you to start the story for crucifix Executioner?

Duncan Cunningham (05:54):
Oh, there’s always the ip. Yeah, always. Look how the story originated was I was just reading the paper one day and there was these horrific crimes that have happened, and I just really going to roll my gate up and I wish there was someone out there that could possibly get there before this horrific crime was committed. And then I started thinking and coming up with a character and all that, and I couldn’t really think of what, so I gave him a psychic ability, so he can sort of sense when there’s evil presence around. And this is prior to whether the first comic takes place. So you used to go around and help find lost kids and all that sort of thing. It’s in the comic there. But yeah, then I sort of saw Dexter. I’m going, geez, I had the same idea as that Dexter, but I just couldn’t put down what job, and I didn’t want a clear shame make him a detective or anything like that. But then Dexter, a blood analyst and I go, of course, then he’s got access to all the files and everything as well. I thought, what a brilliant idea. But yeah, so my character just ended up with a psychic ability, so that helps him out so he can find out who’s killed who or who’s done wrong. The wicked must be slain, so that’s what he does. He goes, slays all the wicked.

Jerome Castro (07:19):
That’s awesome. Yeah, it’s awesome. And it really shows in your work. So what was your challenge for moving from film to comics? Was it an easy transition? Was it a harder transition? The most, I mean,

Duncan Cunningham (07:37):
Well, back in 2013, it’s like I’ve just come off to make a movie. Took me from 2008 to 2013. So it was lot of pre-production, a lot of story taking to get that. And then I had that basis of the film, so I brought that into the comic. So I sort of had the same sort of script. So I just adapted that and changed it bit and then got onto forums and found myself an artist. Vega, he come aboard. I tested a few of different artists out. There was too many good ones to choose from, but we went with Vega because he had the nice grindhouse style of arc. So he Eva that for a while and just gave him the script, trying to change that into a comic format, which of course is like single panels, so you can’t have such and such walks over here. Otherwise you’ve got to do panel, panel, panel, panel. So you just had to simplify it a bit, what happened in there. And you can use your little yellow storytelling, what is it, the narration of the comic book. Yeah. Got an excellent voiceover to do that in the motion comic from Canada. It sounds really cool.

Shane ‘Sizzle’ Syddall (08:57):
Oh, nice.

Jerome Castro (09:00):
Well, that’s awesome. So were you able to fully translate your vision from a film to comic book, or you think you’re missing a few more things to tell

Duncan Cunningham (09:16):
Still? There’s panels in that you missed that you said, oh, that could have worked there, but it’s trying to get your revision across to the artist more so seeing filmmaking, I was there and I could see it on set, and of course, budgetary things stop you from getting a big crocodile coming in. But with comics you can go back and forth with the artists. See my mate, Aaron Cassidy is the writer on here as well. So he puts a lot of black humour in that in there. It’s not just a full on serious slaughter comic. We like to chuck a bit of black humour in there, sort of humour from Mr. InBetween or something, if you know that show.

Shane ‘Sizzle’ Syddall (10:04):
Very nice. Yeah.

Jerome Castro (10:06):
And what do you think is the difference of directing a film from writing a comic book? I mean, of course there are differences in how you do it, but in framing scenes in how you storyboard, I guess, if you storyboard your scenes, are there any distresses?

Duncan Cunningham (10:32):
Well, it’s similar to you just got to put more thinking what you’re going to have in that original panel. Seeing a script, you can say Glen walks into the room, he walks over, picks up a cup and drinks it, and then he sits down and then looks on his phone. Now you’ve got to translate that into a comic book. You just have Glen an’s room. Then you’d have a shot of him sitting down looking at his phone straight away. So your imagination puts it all together, or you just get a motion comic and then get that through doing the motion comic as well. So,

Shane ‘Sizzle’ Syddall (11:07):
Cool.

Jerome Castro (11:09):
That makes sense. Yeah. Yeah. I saw in your Kickstarter that you worked before in morgues hospitals in asylums, is that correct?

Duncan Cunningham (11:22):
Yes, that’s correct. Yep. He’s still working there. Oh,

Shane ‘Sizzle’ Syddall (11:26):
Oh, nice. Oh, is that the shift work?

Duncan Cunningham (11:29):
That’s the shift work, mate.

Shane ‘Sizzle’ Syddall (11:31):
Oh, nice. I don’t miss shift work. I don’t miss shift work.

Duncan Cunningham (11:34):
No, you got to do something to try and fund these comic books, so you got to do that. Exactly,

Shane ‘Sizzle’ Syddall (11:39):
Exactly.

Duncan Cunningham (11:40):
Got to work around the old ship.

Shane ‘Sizzle’ Syddall (11:43):
Yeah. Well, just a quick question for you, just from looking at the Kickstarter, is there a connection with this and Kowski?

Duncan Cunningham (11:54):
Yes, there is.

Shane ‘Sizzle’ Syddall (11:56):
There is. Ah, see I’ve got Kowski and I’ve read that, and there was some things that kind of looked familiar and I was just curious if there was a connection.

Duncan Cunningham (12:06):
Yeah, that’s a prequel comic if you Oh, it’s a prequel. See at the last page and spoilers, spoilers alert at the last page, you’ll see Glen finding the little girl that was lost at the start. This is before he is the crucifix executioner, so it comes,

Shane ‘Sizzle’ Syddall (12:22):
Yeah.

Duncan Cunningham (12:24):
So that’s Glen, and then that relates over it, but Kowski, Ivan, the big grey beard, that’s who he fights an issue to.

Shane ‘Sizzle’ Syddall (12:33):
Oh, okay.

Duncan Cunningham (12:34):
Alright. Yeah, so the art, if you don’t, I haven’t made a common knowledge, but yeah, if you can pick up, that’s all in the one universe. So yeah, the kowski, they’ll probably come back in down the track. As you know, not all of them are deceased.

Shane ‘Sizzle’ Syddall (12:51):
Nice. So I did pick up something.

Duncan Cunningham (12:56):
Yeah, you did in the same set. And Glen even made an appearance in that comic at the end. That’s the little girl that he found. The little girl. That’s what the one they carry on about all the time as that girl.

Shane ‘Sizzle’ Syddall (13:08):
Oh, okay.

Duncan Cunningham (13:10):
And in volume two, you meet that little girl again. So she’s at the start of volume two and her father still getting over the grief of their mother being murdered in Kowski. So that’s where the bad man is dead.

Shane ‘Sizzle’ Syddall (13:26):
Ah, nice.

Duncan Cunningham (13:27):
So yeah, there you go. It’s all tied in.

Shane ‘Sizzle’ Syddall (13:30):
I love it. I love it.

Jerome Castro (13:33):
Well true. I might as well ask you now because out of morbid curiosity, can you tell us about experiences and your experience in the morgue in asylums? Because I mean, I’ve always been curious on how jobs happen in there. There’s always the stereotype of these places, but

Duncan Cunningham (13:59):
It’s pretty much like Arkham asylum, isn’t it?

Shane ‘Sizzle’ Syddall (14:04):
Nice? Sounds like fun. Not, yeah,

Duncan Cunningham (14:09):
Real fun in movies where you see they wear the wide outfits.

Shane ‘Sizzle’ Syddall (14:15):
Yep.

Duncan Cunningham (14:16):
Yeah, like that guy.

Shane ‘Sizzle’ Syddall (14:18):
Okay, cool.

Duncan Cunningham (14:20):
Yeah. But yeah, so similar to Arkham Asylum. So if the inmates ever get disrupted, they’re the first to go. You’ve got to wait for Batman to come or the crucifix execution to come and save us all.

Shane ‘Sizzle’ Syddall (14:35):
Nice, nice.

Duncan Cunningham (14:37):
Yeah.

Shane ‘Sizzle’ Syddall (14:38):
Cool.

Jerome Castro (14:40):
Where do you think you got your flare for the macabre? Because there are creators who draw animal detectives and these kinds of things, but your vision is for mostly, how do I put it, horror trier and

Duncan Cunningham (15:04):
Horror and thriller. Yeah, police sort of action, all that. I was raised by a police officer for 37 years. I was raised by one and a nurse. My mom was a nurse, so I was always privy and there was nothing really hidden about the world there. And I’ve always liked action movies and horror movies growing up, and I sort of wanted to combine the two, a dark action sort of a story. That’s what the crucifix execution is, is really a dark action with horror elements in parts of a slasher type type movie. See Glen becomes like the slasher, like the Jason Voorhees going around, but imagine if he was doing well, he’s still doing evil deeds, but he’s killing bad guys, but just like a slasher, instead of just going around killing virgins and all that sort of stuff, he goes around and actually slays the wicked. So that’s where that sort of come from. He was like a pessimistic type of guy, didn’t really want violence before his injury in the first issue. And then that sends him all haywire or is he possessed? We don’t know.

Jerome Castro (16:11):
That’s the intriguing. Well, if anything, do you have favourite indie movies or B movies that horror B movies or slasher B movies that you pull from you get

Duncan Cunningham (16:28):
Inspired from? Well, the crucifix execution, there was a few that inspired me through there. Mostly a couple of Sons of Anarchy, if you know that thees, the movie Stone was an early Australian movie about bies and that as well. So I had that Mad Max is always the violence in the Mad Max one. I sort of just before going into the Apocalypse world, what else? I was watching a lot of the TV show, the Shield with Corrupt Detectives in at the time when conversely coming up with this. Oh, okay, nice. So a lot of influence and always the black coat of the bad guys and the under and all that. And based in pretty much on My brother, because my brother’s a bald head and everything as well. He actually plays a version of it in the movie. He plays a bald psychopathic guy. We’re going to call it Bald Fury, but we opted out for that. So that was four Psych killer Instinct. Yeah, I’ve made pretty much all horrors based in supernatural sort of realms, all police work detectives, and I’ve got numerous other stories like that. And then I’ve got another comic that I’m working on at the moment, destroys that’s more of a Celtic Viking war out with demons and angels and all that sort of in there. I won’t spoil that too much, but yeah, that one that’s looking really cool.

Shane ‘Sizzle’ Syddall (18:04):
Yeah, sounds really cool. So how far away is that you reckon? Just approximate, like this year, next year.

Duncan Cunningham (18:11):
That’ll be this year, hopefully, if it all goes according to plan. So yeah, I think that’s like just to issue one year, 25 pages that should be done. But hopefully by the end of the year I’ll release volume through a crucifix execution and finish off the story. So that’s where I, oh,

Shane ‘Sizzle’ Syddall (18:29):
That’ll be the final Will it

Duncan Cunningham (18:30):
That final, the trilogy volume for that. And then I’m probably going to pause the Crucifix executioner in his own story run. Might do a few crossovers with maybe Killer Ru and a few other comic creators. So yeah, might get that up and going. That’s really awesome.

Shane ‘Sizzle’ Syddall (18:47):
That’d be great.

Duncan Cunningham (18:50):
So yeah, killer Ru and the Crucifix Execution are going to do a crossover event.

Shane ‘Sizzle’ Syddall (18:56):
Oh, nice and violent.

Duncan Cunningham (18:59):
Well, we’re going to make it violent.

Jerome Castro (19:00):
Yeah, the body count will be super high.

Duncan Cunningham (19:04):
Yeah, well that’s what you want, isn’t it?

Jerome Castro (19:06):
Yeah,

Shane ‘Sizzle’ Syddall (19:07):
Of course.

Jerome Castro (19:09):
Who doesn’t want that? Well, today, uninitiated, we’ve been talking about crucifix executioner, but can you give us a general gist of Crucifix Executioner to the unknowing so far to the unconverted,

Duncan Cunningham (19:29):
The unconverted? Well, crucifix executioner. Oh, how can I put him? He’s a killer that kills the wicked pretty much. I’m trying to think off of a pitch about him. But yeah, he’s pretty much a guy that goes through a horrific brain injury with psychic abilities, then can’t control his abilities until he slays any person that’s committed a crime around him that he deems wicked. So then he goes off and he’s like an anti-hero, and he goes around and he kills the most horrific serial killer in the town of Walton, the Walston city, the comics based in, that’s his first kill off the cab instead of going, who killed his family, his wife and family, his pregnant wife. He can’t really pick up. He’s been shot and head. He doesn’t really understand who’s done that to him, so he just goes out and just kills the most wicked person in the city, which is a Kowski family member. Oh, no

Shane ‘Sizzle’ Syddall (20:45):
Way.

Duncan Cunningham (20:47):
Yeah, so they’ve been killing people and feeding them to their crocodile farm there for a while. So he goes out and sorts those guys out. Well, one of ’em anyway.

Shane ‘Sizzle’ Syddall (21:00):
One of them, yeah, I really liked that comic too, by the way. I was a big fan of Kowski. That was a cool little comic. That one.

Duncan Cunningham (21:08):
Yeah. Yeah. I made a short film on that one years ago and I thought, oh, I’ll turn this one into a comic. I always liked the end sort of thing. I liked how lucky you get hit and it seems to be brain injuries with me. But yeah, you get hit and then he didn’t really know who he was. He woke up in the street. That one got played around in a couple of film festivals too, back in the day. It wouldn’t hold up today. But yeah, that’s where I met Aaron through, he actually had a movie called Horror of Cornhole Cove, which is a horror comedy sort of thing, but that’s where we met up and then started telling Tales together.

Shane ‘Sizzle’ Syddall (21:46):
Oh, cool. So how many movies have you, well, not how many have you done, what other sort of movies have you done? Is there a few of them or is just a handful or?

Duncan Cunningham (21:56):
The only feature film that I’ve done is Forcey Killer Instinct, and that one played in Monster Fest and got shown around, and then it got over 200,000 views on YouTube before it was banned or someone flagged it because of the violence and course language. There’s a lot of swearing in it and violence that people can hack. There’s a lot of F words and see words and people started playing drinking games with it and they don’t get to the end. So that’s where it’s an independent film for sure. But yeah.

Shane ‘Sizzle’ Syddall (22:35):
So they say use the force a lot, is that what you’re saying? Force?

Duncan Cunningham (22:39):
Use the force. Use the force, yes. There’s a lot. 320 I’ve used the Force. Yeah, I sat down and counted it one day. I didn’t really pick up until much. I said there’s too much swearing for me to cut it all out. But yeah, I sat down and counted all, and there was 320 F words and 21 Cs, which makes this come number 11th in the world of movie with most swears. So yeah, it’s a swear fest. So if you don’t like course language, it’s not the movie for you.

Shane ‘Sizzle’ Syddall (23:14):
Sounds like fun.

Duncan Cunningham (23:15):
Yeah. Prior to that, yeah, I just had a couple of short films that just travelled and did a few. I won my local film festival here with homicide and the Switch that was about two detectives that come across a horrific murder as usual. You can see the pattern here, all that. But that was just based on the detectives chasing after Chase of Madness was another comedy take on the two detectives chasing a guy that was talking to multiple people that weren’t there. Yeah.

Shane ‘Sizzle’ Syddall (23:48):
Oh, nice. Yes, there is a bit of a pattern.

Duncan Cunningham (23:51):
Yes. Yeah. But now I can do Vikings and stuff now, so I’ve sort of gone. Yeah, that sounds really cool. Yeah.

Shane ‘Sizzle’ Syddall (24:01):
Is there anything else in your plans for the future, or is it the Vikings so far?

Duncan Cunningham (24:06):
No, there’s going to be Vikings.

Shane ‘Sizzle’ Syddall (24:07):
Anything else you can tell us about?

Duncan Cunningham (24:10):
I’ve got Vikings and I’ve got another twisted one coming out that I’m riding at the moment. Sinister crime, which is another dark detective sort of tail, but with a twist. Nice. So I want to get that one out. I’m still at the drawing board with that. I’ve made a short film out of that one as well, but now I can go, I make it the way I want in comic form, so that’s where I’ll get that one going. So pretty much all my old ideas, I’m turning ’em into comic books, so hopefully get the readership in that and they get a following, and if they’re not really into comics, hopefully they’ll watch a motion comic. I’m thinking of turning Kowski into a motion comic also. I think that would That’d

Jerome Castro (24:52):
Be awesome. That should be cool.

Duncan Cunningham (24:54):
I’d do well at the horror film fest in that one, I think. And the artwork would look really good motion. So yeah, I’ve already got Ivan’s voice recorded, so I just got to get the other voices done. It’s the narrator of the Motion comic for Crucifix Executioner. He’s playing Ivan, he plays Ivan in that. This as well. The short film we originally had John, he’s the epic voice guy from Screen Junkies on his trailers.

Jerome Castro (25:25):
Got guy. Okay.

Duncan Cunningham (25:27):
Yeah, I had him do for the pilot episode for a few years ago. He did the narrators voice for that. So yeah, got onto him and he did it, and that went around that got into Chicago Horror Film Festival and that. So that’s why I thought, oh, might be onto something here. Why not turn the whole comic into a motion comic? You see how that goes. So if you back the Kickstarter, you’ll get a special link to be able to view the motion comic a private link, because I still enter it in the film festivals and they don’t like it to be released prior. So that’s what you’ll get with the Kickstarter. Oh, nice. Cool. Private viewing. Yeah. Only back is on the Kickstarter. Yeah.

Jerome Castro (26:13):
Well, do you still have teams with the crucifix execution that you haven’t explored yet that you’re looking to play on more? Because if you’re saying that it’s a trilogy, there’s one more volume. So

Duncan Cunningham (26:28):
That’s just the first trilogy is pretty much like the origin of the Crx executioner. Then I could 50 issues. No worries. You could take that character anywhere. Or I could kill him off. That’s what Aaron wanted to do. He just, oh, let’s just kill him off at the end so we don’t need a ride anymore. I said, no, you can’t kill him off. Say if people like you and then we just make a Multidi mentioned sort of thing. What man versus hell and do that storyline. Nice, nice.

Jerome Castro (27:05):
That will be cool actually.

Duncan Cunningham (27:07):
Yeah, you

Jerome Castro (27:09):
Kill him off and he goes to hell and fights off. Hell yeah.

Duncan Cunningham (27:12):
Fights off. Hell got to fight surrounded by all the wicked people that he’s slayed. But yeah, actually that is a good story. Maybe we’ll go there. Yeah, maybe go there. You should, let’s say you can end it all just so we can end it all. He got to slay the most wicked of all the devil lucier. Nice.

Jerome Castro (27:37):
That should be cool. Yeah. Well, since you’re dealing already with slasher tropes here, so there’s always a limit to how far creators will go. So how far is too far for crucifix execution?

Duncan Cunningham (27:57):
You just got to skate that line without crossing it. You just got to skate it without going too far over to offend people that go, no, that’s too far. But no executioner skates that line pretty well, but there is things in there that if you were a bit soft and stuff, you will get offended by some things. But just remember it’s black humour or a lot of it, if you read the first volume, there’s something with a cat. I didn’t realise how offended people get with cats. So yeah, the bad guy. Yeah. Yeah. But I thought it was funny when I read it, Aaron wrote that seed and I’m going, wait, it’s just out of the blue and you go, what the hell? What happened to that cat? I told that cat he had to pay now I’m telling you. So yeah. So yeah, that was one they, oh, I can’t believe you did that to the cat. I said, it’s not only that does it to everyone in it. Animals, everyone gets killed in the killer comics first universe, no one’s safe. Yeah, well cats.

Jerome Castro (29:09):
Exactly. People are always more upset when it comes to animals.

Duncan Cunningham (29:13):
I am too. People know a dog or a cat also a dog that brings a tear to your eye. Yeah. You don’t care about the a hundred people being killed or that poor dog. Well,

Jerome Castro (29:29):
That is true. Well, what do you think makes a crucifix executioner appealing to your readers? Because at least from what I think, me and Shane, we enjoy it so much, but what do you think makes it very appealing to everyone? To almost everyone. It’s allowed to read it.

Duncan Cunningham (29:51):
Well, anyone that would pick it up and be interested in it, they start to realise once they’ve read a few pages, they don’t dunno what to expect on the next page. They dunno what’s going to happen because we’re just going to throw it all at you because we are skating along that line and we’re not afraid to go certain places that people aren’t. Like when I’m talking to you, I said, no, this is not PG mate, it is an R rated comic, so do as much gore on that as you like within means, because you don’t want to go the X-rated, just stay R, it gets banned and you can’t have that anywhere. But it’s an R rated mature comic book for those that like a bit of dark action, bit of black humour, comedy, black humour. Yeah.

Jerome Castro (30:45):
And because for everyone listening, if you guys think George R. Martin is bad with his characters, Duncan, nobody’s sacred in his stories, so

Duncan Cunningham (31:03):
I know you never know who’s going to go.

Jerome Castro (31:05):
Yeah, exactly. Yeah.

Duncan Cunningham (31:07):
Went until volume three.

(31:11)
Volume two, we introduced you to Gibbons is our new villain. So Gibbons nice, full on a cannibal Bikey dwarf. So he runs Cann. Yeah, he’s the leader of the Conquested or motorbike gang. So yeah, he’s entering the city of Walton and then he’s going to make ’em pay for what happened in issue volume one. So he’s coming for revenge steel about revenge. It’s all about the revenge and these bikes, well, he doesn’t muck about, he’s got fo teeth into sharp points and he wears the twisted or helmet and he does not muck around one bit.

Jerome Castro (31:56):
That’s cool. And it’s always over the top characters that you remember. So

Duncan Cunningham (32:03):
Of course you got to go all the way. No point just keeping it real. Yeah, exactly. Well it is real based on real things. Just elevated. Elevated. Yes. Cool. Well, oh, sorry. You go Joan,

Jerome Castro (32:19):
You go. No, you go. You go. No, I’ll only interrupt. Well, let’s go a little bit on the technical side of things. So how does a typical workday for crucifix executioner happen? Can you tell us about the planning stage until you deal with your team and things

Duncan Cunningham (32:44):
Like that? Well, the planning stage is a massive brainstorm with me and Aaron. So we come together and we’ve a couple of weekends, we just nut out ideas and then we got to get it going and we get the flow, we come up with the characters, what they’re going to do in the further down the line, what characteristics they will have, what’s going to happen, what we need to happen, and what we line up down there. Then I tell Aaron that, and then he sits down and then he’ll write it and he’ll get me a page or whatever. He’ll send it back. And then for the first one, we already had the script, but for the second one we’ve got, we thought, oh, we’ll go, we’ll go just write one more issue. And we go, oh no, we’re liking that. We’ll draw one more issue.

(33:28)
So then I give it to the artist and he reads through, and then sometimes they don’t really understand what I’m talking about because of cio, who’s from India. So a lot of the time I just had to use pictures, find images and that to show him what I mean. And he’d go, oh, yep, I’ve got you now. And then he’d draw it, draw it, and come together and you send back, is this what you And I said, yeah, maybe just change that, change that, and he’d send it back. But it was a lot of back and forth, but just showing him images and that of what I was talking about really helped out with CIO doing that. So yeah, he worked on the next, what was it, 6, 7, 8, 9, 10, 11, 12. So he did all those issues. He drew all them. Oh no. Then we come together as a team for the two issues.

(34:21)
So it’s hio. And then we got Armando Jr. Does all the awesome colours in there, and he does a lot of the colours on the covers in that as well. Yep. And Ryan Brown does the cover of the next issue, if you know who that guy is, UK artist. He’s on a lot of, I’m familiar with him myself. He’s up there. No, Nick Ville. He did the cover of volume one. He’s a Marvel dc. He usually works on Judd Dread and everything now. But yeah, we’ve got him for that cover. And I just hired a video game style. I like all that video game. So that’s in Loomis. Cool. He did that one. He is done a lot more video game imagery and Bjo Barnes, he’s the cover artist on Spawn at the moment. Check that out. Oh, no way. There’s your cannibal biker Gibbons. Oh wow. Yeah, Campbell. All right. He’s done like five covers for us. So if you want the single issues with his covers, they’re from, they’re on the first and first, second and fifth one. Yeah, so then we got his Prince and the Kickstarter. Yeah. So yeah, these were his original comic covers that he was doing. So now he’s working on Spawn with McFarlane. So he is doing really well.

Shane ‘Sizzle’ Syddall (35:53):
Yeah, that’s really cool.

Duncan Cunningham (35:55):
Good.

Shane ‘Sizzle’ Syddall (35:56):
So, oh, I pressed the wrong thing then you all went off the screen for a second. So we will go do the Kickstarter if you want. Just give everyone a bit of a look. See

Duncan Cunningham (36:09):
There’s a sexy cover from Blacky Chevy. Nice. Is one of the sexy covers you can get.

Shane ‘Sizzle’ Syddall (36:17):
Yep. Cool. So just for anyone watching, you’ve got the link is just there. What I’ll do is I will put that in the comments as well. And I should have just copied it is hoping I don’t miss the R.

Duncan Cunningham (36:38):
You don’t miss the R. Hey Duncan,

Shane ‘Sizzle’ Syddall (36:45):
I’ll just send that out to everyone so it’s a bit easier to link to it. If there is certain parts of Facebook, that message won’t go to for some reason. So it’s the link going across the bottom of the screen.

Duncan Cunningham (36:58):
So it says, so what we’ll do

Shane ‘Sizzle’ Syddall (36:59):
Is

Duncan Cunningham (37:00):
Kickstarter killer comics.com.

Shane ‘Sizzle’ Syddall (37:04):
Yes. A lot better than me. So what I’ll do is I’ll just share my screen so we can see the Kickstarter. So there it is there. So I’ll just refresh the screen.

Duncan Cunningham (37:23):
Crocodile Crocodile plays a prominent part in this story as well. The saltwater crocodile.

Shane ‘Sizzle’ Syddall (37:30):
Good old saltwater crocodiles.

Duncan Cunningham (37:32):
Yeah.

Shane ‘Sizzle’ Syddall (37:34):
Now I think I pressed the wrong button so I won’t be able to play this now. It won’t have sound. So we’ll just go through this. So you’ve gotten through three stretch goals.

Duncan Cunningham (37:44):
Three, unlock, unlock. Unlocked,

Shane ‘Sizzle’ Syddall (37:47):
Unlocked. Nice. Very nice.

Duncan Cunningham (37:49):
Nine grand gets you a bookmark.

Shane ‘Sizzle’ Syddall (37:52):
Sweet. Well how much have we got? We’ve got a grand to go, haven’t we? Yeah, so come on, people pledge. Let’s get that bookmark.

Duncan Cunningham (38:01):
Come on, let’s get the bookmark. That’s Jojo’s work as well. Yeah, that’s

Shane ‘Sizzle’ Syddall (38:06):
It. Oh, nice.

Duncan Cunningham (38:08):
For issue one or motion comic poster. We’ll see.

Shane ‘Sizzle’ Syddall (38:14):
Oh nice. So this is the cover you just showed us, but you can see it a bit better here.

Duncan Cunningham (38:19):
That’s way clear. Yeah, revenge. Here’s the sexy covers. You can get the sexy variants, the bloody cover. Everyone likes a bit of blood. Then there’s a nude, fully nude. The cover’s nude. No

Shane ‘Sizzle’ Syddall (38:37):
Title was nude. She’s nude. Everyone’s nude. The CRO is nude.

Duncan Cunningham (38:41):
It’s a little nude. It’s nude all around.

Shane ‘Sizzle’ Syddall (38:45):
So we’ve got some crocodile action here. Nice eating someone. Bit of action there.

Duncan Cunningham (38:55):
Yeah, check out his bike,

Shane ‘Sizzle’ Syddall (38:59):
Look at that. Oh wow.

Duncan Cunningham (39:02):
Yeah,

Shane ‘Sizzle’ Syddall (39:02):
Like a skeleton.

Duncan Cunningham (39:05):
Skeleton. I dunno

Shane ‘Sizzle’ Syddall (39:05):
If you can see that on the screen there.

Duncan Cunningham (39:08):
Conta doors, helmet and everything he rides. Look at all those bies coming hand on the city. Oh, there’s a lot. There’s a free there. Just one

Shane ‘Sizzle’ Syddall (39:21):
Man against them.

Duncan Cunningham (39:23):
Do you have one man can sleeve them? Oh, free issue of issue one there. If you just want to click on there. If you go through the Kickstarter there, there’s the issue one and you go, oh, maybe I want to taste the crucifix Executioner. Well there you go. You can click on that link and have a read. See if it is the comics book for you.

Shane ‘Sizzle’ Syddall (39:42):
That’s really cool

Duncan Cunningham (39:46):
Because that ends horrifically if you remember as most issues would.

Shane ‘Sizzle’ Syddall (39:53):
Yes. So this

Duncan Cunningham (39:55):
Is that. That’s Mr. Aaron Cassidy. The It is

Shane ‘Sizzle’ Syddall (39:58):
Aaron. I wasn’t sure.

Duncan Cunningham (40:00):
Yeah, he couldn’t be with us tonight because he’s still working on a movie on a set, so he apologises for not being able to get on.

Shane ‘Sizzle’ Syddall (40:10):
That’s cool.

Duncan Cunningham (40:15):
So yeah, he’s out gallivant and working on movies because all of ’em are coming over to Australia now, so

Shane ‘Sizzle’ Syddall (40:23):
Oh yeah. It’s

Duncan Cunningham (40:24):
Good for the film industry.

Shane ‘Sizzle’ Syddall (40:26):
That is good for the film industry. So US reduction. Yep. And oh, here’s the different rewards.

Duncan Cunningham (40:33):
There’s the rewards. Digital trade volume two, digital trade volume one, digital combo, get your trades, volume one and two in the digital combo. Nice. Plus bonus motion, karmic plus bonus, other creators, digital issues.

Shane ‘Sizzle’ Syddall (40:49):
Nice.

Duncan Cunningham (40:49):
When that in there? That was in one of the updates. Then you get issue eight, nude cover, trade volume two, regular cover trade,

Shane ‘Sizzle’ Syddall (41:02):
The blood splatter.

Duncan Cunningham (41:04):
Yes. Blood

Shane ‘Sizzle’ Syddall (41:05):
Splatter safety variant, bloody variant, nude variant trade combo. Nice. Oh nice. Price

Duncan Cunningham (41:14):
Trade combo. The killer Collection.

Shane ‘Sizzle’ Syddall (41:17):
Collection. Oh that’s pretty cool. Wow. I’s got Kowski in there as well. Nice.

Duncan Cunningham (41:26):
Kowski comes with killer collection anyone? Yeah.

Shane ‘Sizzle’ Syddall (41:29):
Yeah. Nice.

Duncan Cunningham (41:31):
Kowski is NA on as well. If you want to read that. So you can add-on down

Shane ‘Sizzle’ Syddall (41:36):
The bottom. Oh yep. There’s the add-ons. I think print sets.

Duncan Cunningham (41:41):
The print and single issues. Yeah. But yeah, single

Shane ‘Sizzle’ Syddall (41:44):
Issues.

Duncan Cunningham (41:45):
Yeah, we haven’t really said that you can do that. Maybe it’s only in the killer collection.

Shane ‘Sizzle’ Syddall (41:51):
Oh well there you go.

Duncan Cunningham (41:54):
We’ll see. I think you can get it digitally. I think if you want it printed, I’m not sure. I’ll have to have a look, but if you want it, get onto me.

Shane ‘Sizzle’ Syddall (42:06):
Yeah, get on there. So crucifix, so just as a quick sum it up, have you got an elevator pitch? Have you got something? Just because we’re getting to the end of our time with you. So is there something you can say to get people to want to get this comic?

Duncan Cunningham (42:25):
The series tells the story of a psychic who gets attacked by corrupt detectives. Then with his grievous brain injury after the attack, he must go around and slay the wicked. He must do it otherwise. Will his brain implode? Is he possessed and talking to the devil? Who knows? Check it out in crucifix execution of volume two.

Shane ‘Sizzle’ Syddall (42:52):
Oh nice. Okay. That’s awesome. Thank you Duncan.

Duncan Cunningham (42:57):
No worries.

Shane ‘Sizzle’ Syddall (42:59):
I’ll just stop sharing that

Duncan Cunningham (43:05):
And just remember the wicked will be slain.

Shane ‘Sizzle’ Syddall (43:09):
Nice. I like the voiceovers. Did you have any of the voiceovers for your comment? Yeah,

Duncan Cunningham (43:15):
I took for seven characters.

Shane ‘Sizzle’ Syddall (43:18):
For seven characters.

Duncan Cunningham (43:20):
Seven of ’em? Yeah.

Shane ‘Sizzle’ Syddall (43:22):
Tell

Duncan Cunningham (43:22):
For 80 for out. Yeah. Well you just got to prepare. What do I do for, I’m trying to think back. I talk for George, he’s bit like that. What do you mean? I didn’t do that? Trying to get him into character. It takes you a little bit, but you get talk my light. I just put the teeth mate, make

Duncan Cunningham (43:46):
Corrupt cop, I’ll make them pay.

Duncan Cunningham (43:48):
No, the wicked will be slammed. Got a bit of a head cold. I could do the voices a lot better, but yeah, give it time to warm up. Yeah, I did well. Am I Matt Parsons? Crucifix Executioner. My brother does Glen’s voice and there we sound very similar. Yeah, I do George as well. I do the bum

Duncan Cunningham (44:12):
Monty. My god, Monty, you killed Monty, you killed the Dick Monty,

Duncan Cunningham (44:19):
You killed him. Not him else. We got George. Yeah, I just made George sound a bit like dumber than usual. He is like a dumb detective sort of thing, but it’s just the way he talks. Did a couple of the ies and I had a handful of actors that did a lot of the other ones. I’ve got Kathy and then Matthew, Dave and really good actor did the priests voice and Scottish Irish, I think it was his native tongue. He did an awesome job in that. So yeah, if you want to check out the motion comment, I’ll have all them.

Shane ‘Sizzle’ Syddall (44:57):
Awesome.

Duncan Cunningham (44:59):
That’s

Shane ‘Sizzle’ Syddall (45:00):
Good. Well I’m getting lost in my computer here, so you have to,

Duncan Cunningham (45:06):
He’s lost and can’t be found.

Shane ‘Sizzle’ Syddall (45:08):
Just bear with me. Well thank you Duncan. It was a pleasure to have you on tonight.

Duncan Cunningham (45:16):
No worries, thanks for having me the

Shane ‘Sizzle’ Syddall (45:17):
Day it is. Yeah. Anyone watching, check out Kickstarter dot killer comics.com that’ll take you to the Kickstarter, check out the different pledge levels, figure out what you want and pledge, get some of this great story into you. Yeah, get it into you. If it’s anything like Kowski, it’s going to be a great story. So yeah.

Duncan Cunningham (45:44):
Alright. Back on the Kickstarter. The wicked will be slain

Shane ‘Sizzle’ Syddall (45:48):
Regardless. Yes. Yeah. Awesome. Thanks Duncan. You have a great night.

Duncan Cunningham (45:53):
Alright, thank you. Thanks for having me. I’ll be up until tomorrow.

Shane ‘Sizzle’ Syddall (45:57):
Yeah, have fun with work.

Duncan Cunningham (46:00):
Will do. Thanks guys. Have care.

Shane ‘Sizzle’ Syddall (46:02):
See you man. See you a good one. Well that was a lot of fun. Now it’s time for, that was a bit slow. The Comex Studio presents and presents your issue one stories and all the artists, creators, I should say, behind those stories. So we’ll start bringing mine one by one. I’ll just move this picture away. And first we’ve got Ed. Hey Ed. Hello Ed. Hey then. Got Peter. Let’s do it in order. Peter. Hey. Yeah. Got Tony.

Duncan Cunningham (46:50):
Hey. Hey Tony.

Shane ‘Sizzle’ Syddall (46:52):
Hey Tony. How’s Thanks. Good, thanks. We’ve got Zach. Hi Zach. How you going? Got Rob. Rob was a bit slow. He is at the end here. Hi, that’s all we’ve got so far.

Rob ‘Spedsy’ Lisle (47:13):
Is this on? Are we live?

Shane ‘Sizzle’ Syddall (47:15):
Yes, we’re live, Rob. We’re live.

Rob ‘Spedsy’ Lisle (47:18):
And you can’t smell you right?

Shane ‘Sizzle’ Syddall (47:20):
No, you can’t smell you, so you’re fine.

Rob ‘Spedsy’ Lisle (47:23):
I’m on a showering detox. I haven’t showered for a week and a half

Rob ‘Spedsy’ Lisle (47:28):
Pause up.

Shane ‘Sizzle’ Syddall (47:31):
I ask that smell question

Jerome Castro (47:33):
Is working.

Isaac George (47:35):
Copy the Devil’s Toilet.

Shane ‘Sizzle’ Syddall (47:41):
Smells like Devil’s Toilet. Oh, nice. While we’re waiting for people. Oh, hang on. Yep. Sorry. You plugging. No, no,

Rob ‘Spedsy’ Lisle (47:53):
Please.

Shane ‘Sizzle’ Syddall (47:55):
No. So what we’ll do is we’ll just go through everyone’s story. I’ll go in the order that you guys are on the screen. So that means poor old Ed gets chosen first. Ed, tell us a bit about your story in Presents issue. One final dragon.

Edmund Kearsley (48:15):
My story is called Final Dragon. It’s a karate comic book. It’s based loosely on the eighties video game double dragon. And it’s, I have coloured in an old school kind of style as well. So the whole thing, like an old comic book.

Shane ‘Sizzle’ Syddall (48:39):
Yeah, that’s really cool actually.

Edmund Kearsley (48:41):
Thanks. And it’s a story about revenge and I’ve also tried to mix in some nineties image style kind of crazy stuff in there as well. I’m trying to find a balance between the eighties, like shooter era Marvel, and then the early nineties stuff where everyone went crazy and everyone’s screaming for no reason and stuff.

Tony Menzie (49:10):
Awesome.

Shane ‘Sizzle’ Syddall (49:12):
Cool. Thanks Ed. I’ll let Duncan in. Good Duncan,

Tony Menzie (49:19):
How’s it going? Hey, amen. Going

Shane ‘Sizzle’ Syddall (49:21):
On. So in order of the boxes on the screen, that leaves Zach to tell us about Vivian Jones.

Isaac George (49:31):
He’s an occult detective and he’s a drunk smoke. So I’m sorry to Happy Harold. I promise you that will print in the book, but it’s everyone in the universe is a giraffe humanoid. I wanted break from drawing. Drawing. I dropped your ass.

Shane ‘Sizzle’ Syddall (50:04):
Truly inspired. Awesome. Cool. So you can’t say anymore without giving away the story I guess. So I guess that moves us on to Tony, who’s Killer B?

Tony Menzie (50:23):
Oh, sorry mate, you go.

Shane ‘Sizzle’ Syddall (50:25):
No, no, I was just saying Killer B is the title.

Tony Menzie (50:27):
Yeah. Killer B, I’m in the in issue one of comics presents noir, which is the black and white version of the comics. So no filthy colour in our prestigious issue. Killer B is a one-off. It’s a one off eight pager. It’s sort of in the vein of the old Alfred Hitchcock presents. So it’s sort of a murder mystery but not so much of a mystery because you sort of get a feeling who did it by the title of the comic. I dunno if you do, but no, the title character is, and she’s a mid seventies pensioner in a nondescript English town, a lovely little village. And she’s a very, very interesting lady. She’s very clever, she’s very sharp, she’s very dangerous when put in a corner. And basically when B was a little girl when she was around 13, she had a pretty traumatic event happen to her as a young girl, which I won’t get too much into too many details, but was blinded. She was blinded as a young girl. So she’s lost her vision in her right eye. She’s a nasty scar down vertically, down the entirety of the right side of her face. What else can I tell you without giving too much away? There are bees involved, she is a bee, there may a murder investigation going on. There’s a bit of a theme in these anthology comics between me and Zach and sp and there’s a whole lot of murder. Murder makes good stories, I don’t know why.

Shane ‘Sizzle’ Syddall (52:12):
Nice. Thanks Tony.

Tony Menzie (52:14):
No worries.

Shane ‘Sizzle’ Syddall (52:16):
Another reason to get the book killer B. So in the order of the boxes here we’ve got Peter next. So Peter, tell us about fo Hey guys.

Peter Wilson (52:31):
Fo is the story of a rivalry between an alien and a demon who ideally would both like to take over the world and wipe out humans, but they can’t seem to get past the hatred of each other. So that would be the main goal of theirs. But little things get them sidetracked. Who can get a job the best, who has a better sense of fashion, who can scare some poor guy to bus stop more? And my aim was to sort create the real sort of wacky hard nineties cartooning but for adults.

Shane ‘Sizzle’ Syddall (53:11):
Cool.

Peter Wilson (53:11):
Very

Shane ‘Sizzle’ Syddall (53:11):
Cool. And

Peter Wilson (53:12):
It’s the unpleasantness. Lots of humour intact. Yeah,

Shane ‘Sizzle’ Syddall (53:18):
Lots of humour. Yes. Well is that it? You got nothing more you can say without ruining it.

Peter Wilson (53:27):
I’m trying to use a lot of the really classic alien and demon tropes, things you might see in the Exorcist or movies like signs, the classic flying saucer crop circle versus scary little girl who’s possessed by a demon

Shane ‘Sizzle’ Syddall (53:42):
And how

Peter Wilson (53:42):
Those things would work if they collided.

Shane ‘Sizzle’ Syddall (53:48):
Awesome.

Peter Wilson (53:49):
Yeah, the sort of wackiness and anarchy that would ensure if those two types of creatures did in fact meet and use their weapons against each other.

Shane ‘Sizzle’ Syddall (53:57):
Sounds like a lot of fun. It is. Awesome. Thanks Peter. No worries. And I’ll bring in Dave who’s just popped in, although it looks like his camera’s not working. Hi Dave. Hey. An invisible Dave guy. Yeah, me. Camera’s not working for some reason. I dunno what’s going on. It’s the best you’ve ever looked mate. You’re handsome mate. Before we move on to Rob, I’ll just let Lee in. So Hello Lee. Hello.

Leigh Chalker (54:35):
I’m running late.

Shane ‘Sizzle’ Syddall (54:36):
Good speed and comics. Sorry, that’s everyone. Oh well I wasn’t sure for a second there but yeah, that’s everyone. I lost track, I lost track. Hello

Leigh Chalker (54:49):
Gentlemen. Hello everyone.

Shane ‘Sizzle’ Syddall (54:53):
Hey. Hey Lee.

Leigh Chalker (54:54):
How are you mate?

Shane ‘Sizzle’ Syddall (54:55):
Doing good. How’s everything there?

Leigh Chalker (54:59):
Yeah, it’s good mate. It’s good. Sorry Shane, am I allowed to have a cigarette on tonight’s show or is that against

Shane ‘Sizzle’ Syddall (55:06):
Have a cigarette? Have a cigarette. You do on a Saturday morning. So

Leigh Chalker (55:12):
I haven’t done for the last couple of weeks, mate. Give me a come on. And I’ll tell you what, by the time the show’s been over I’ve been absolutely hanging

Shane ‘Sizzle’ Syddall (55:24):
Shane. He’s right. He hasn’t done it the best. This has stuffed up all the order here, so I know Rob was an ex. So Rob, tell us about, I was going to say Devil’s Toilet,

Rob ‘Spedsy’ Lisle (55:38):
Tell a little bit about the Devil’s Toilet because it ties in. So my story is Frederick Colon, the total detective, but previously in the sped verse, the Devil’s Toilet, one of my other books Sees a literal toilet becomes sentient and escape hell and come to Earth unwittingly bringing within the apocalypse. So demons are taking over human vessels and a near impossible to find. So who better to flush them out than the person who did it the first time on the other side of the world over 130 years ago? Comex Presents is the story of Frederick Lon, the turtle detective who when not hunting Jack the ripper is ripping demons from the human flesh suits. That is until visitors from the future come begging for his help to save the world once again. So you don’t need to have read my previous books, but it does tie into the overall shenanigans and it’s going to be a good time. And I’ve got two pages left on my first instalment and I think it’s some of the best art I’ve ever done. So I’m pretty chuffed with the whole. Oh

Shane ‘Sizzle’ Syddall (56:49):
Sweet. On good stuff. And I’ll just let Lee back in. I’m just going to try to see what this button does. That’s be better. Fancy. Now we’ve got, I’ll look at that. The two no cameras are with each other. Nice. Yeah, perfect line. So thanks for that Rob. I’m looking forward to that story as well. Two pages off. Hey that’s awesome. And he’s doing the So Duncan. Yeah, tell us about Ben Kitty blood hail, is that it?

Duncan Pranevicius (57:28):
Yes, it’s like the sub heading. Yeah, sub Ben Kitty Blood Hail Ben Kitty is essentially just a guest to summarise the first issue Wakes up has no idea who she is, but she’s got a hole in her forehead covered in blood with a dead body next door. And through stuffs and things out, she finds out that pretty much it’s the mo of one of the most notorious serial killers in the state. And in trying to find said serial killer, she ends up discovering an entire hierarchy of a big cabal of serial killers and it goes high up, it goes all the way to the top.

Shane ‘Sizzle’ Syddall (58:18):
Interesting.

Duncan Pranevicius (58:18):
And blood, hail, it’s just pretty much like a side quest to that in trying to take down one of these nine, the makeup, the group material killers ends up coming across, I guess you can call ’em terrorist, suicidal terrorists who

Shane ‘Sizzle’ Syddall (58:41):
Want to

Duncan Pranevicius (58:43):
Shoot up 40,000 people and pretty much up to a large cat with a hole in his forehead to put that basically.

Shane ‘Sizzle’ Syddall (58:55):
Excellent. That’s the perfect cat to deal

Duncan Pranevicius (59:00):
With. Exactly. Cat with

Shane ‘Sizzle’ Syddall (59:01):
A hole in the head.

Duncan Pranevicius (59:02):
Cat, cat,

Shane ‘Sizzle’ Syddall (59:04):
Cat. Yeah Cat.

Duncan Pranevicius (59:06):
Keep that in mind. That’s thing.

Shane ‘Sizzle’ Syddall (59:10):
It’s a thing. Yes,

Duncan Pranevicius (59:11):
You’re right. Yeah. No one ever refers her as a cat.

Shane ‘Sizzle’ Syddall (59:16):
No one except the redux.

Duncan Pranevicius (59:19):
Well is her. It’s sort of so she narrates it pretty much The reader sees what

Jerome Castro (59:24):
She sees and hear.

Shane ‘Sizzle’ Syddall (59:27):
Oh yeah. Cool.

Leigh Chalker (59:30):
Hi, I apologise, I’m getting a weird thing. Many voices are talking all over the top of each other at once. It’s strange. It’s like some are speaking earlier, some are speaking later. So if I drop in and out, I mean, no disrespect.

Shane ‘Sizzle’ Syddall (59:47):
Thanks Lee.

Leigh Chalker (59:49):
That’s okay.

Shane ‘Sizzle’ Syddall (59:50):
You say you’re having some reception problems. Okay, cool.

Leigh Chalker (59:54):
Yeah,

Shane ‘Sizzle’ Syddall (59:55):
Maybe I should go with you next in case you drop out again. So Lee, tell us about Marathon.

Leigh Chalker (01:00:00):
Okay, well a couple of fine chaps the other day wrote a synopsis of it that when I read it I thought, bloody hell, that sounds all right. And then I realised it was my story. So anyway, I’ll read it to you. This is Shane and Jerome have read this one. So here you go. Within a world dying from within a small settlement called Marathon is in dire straits isolated with no resources, it’s only root is to the outside world is the great coastal settlement between both places. A brave group called runners became the lifeblood of marathon, bringing valuable information and resources back to the small town. All is well until they stopped coming back. The runners are decimated and it’s up to Ambrose Chapel, the last runner to uphold their sworn duty. And Jason, an apprentice, is off to see his hero. Will Ambrose discover what forces spirit away the runners of Marathon. So there you go, Shane and Jerome. There you’re, that’s it. So I can’t do any better than that. Yeah. Alright,

Shane ‘Sizzle’ Syddall (01:01:21):
Nice. Thank you Lee.

Leigh Chalker (01:01:22):
That’s alright.

Jerome Castro (01:01:23):
There’s a funny story about that, but tell us, basically when I was writing that and I asked Shane to give me quick details about everything, he literally messaged me what he remembered about what you said about Marathon and I thought it felt like the words are exactly from you. I almost transcribed them word for word.

Leigh Chalker (01:01:55):
I dunno who that guy is. Me, but I tell you what, it didn’t sound like it was for me, mate. I

Shane ‘Sizzle’ Syddall (01:02:01):
Was channelling you, Lee. I was channelling you.

Leigh Chalker (01:02:04):
Well, thank you very much. I can’t really say anything better about the story than that to be honest with you. So thank you guys. And onto the next person.

Shane ‘Sizzle’ Syddall (01:02:14):
Yep. Next person’s Dave, the voice from the dark. Yeah.

Dave Dye (01:02:19):
About this. I don’t know what’s going on. No, it’s

Shane ‘Sizzle’ Syddall (01:02:21):
All good. It’s

Dave Dye (01:02:21):
All good. My camera technical

Shane ‘Sizzle’ Syddall (01:02:23):
Issues.

Dave Dye (01:02:24):
I didn’t have a microphone either while I was a little bit late joining, I was just trying to get something going and it’s just been, yeah, I dunno. It’s going on. So you want me to just briefly tell you about impulse there?

Shane ‘Sizzle’ Syddall (01:02:42):
About impulse? Yeah. Just not ruin the story, but just tell us a little about it. Like a teaser.

Dave Dye (01:02:48):
Alright, well basically it’s set in a capital city in Australia somewhere. It could be Melbourne, Brisbane, Sydney, Hobart, Darwin, or maybe not Darwin the Way. Oh yeah, maybe Inner city. And it’s about what happens to a young down and out fellow who is a street person, lives on the streets and he hasn’t got much money to his name. He’s sort of living from DOL check to DOL check and that sort of thing. And doesn’t seem to have much future and like that. Anyway, the situation with noir stories are, I understand, is that they’re supposed to sort of tell a story about someone who makes a decision, which can lead to another decision, which will lead to another decision which snowballs and things get out of control. And this story is told mostly through his thoughts as he goes through this experience. And what happens is he’s walking along the street and he sees something that he’s always wanted and he thinks, oh, I’ve got to get that, but he hasn’t got any money of course. So what’s he going to do? He’s going to knock it off. So he does that one thing leads to another, and next thing you know it’s a bit more serious than the original stealing crime that he’s done.

Shane ‘Sizzle’ Syddall (01:04:35):
So it escalates quickly.

Dave Dye (01:04:37):
It escalates, yeah. And before long, he’s pushed himself into a one-way street, which is just getting worse and worse and escalates to a point which he thinks there’s no return from and he makes even worse decisions. And then there’s a big finale at the end, which really puts him over the edge.

Shane ‘Sizzle’ Syddall (01:05:09):
Cool. It’s a good story. I’ve read it actually, so I get to cheat. I’ve actually read it.

Dave Dye (01:05:16):
Thanks mate. Yeah,

Shane ‘Sizzle’ Syddall (01:05:17):
It’s an awesome story. Thanks Dave.

Dave Dye (01:05:19):
It was a good one to write and it was good fun to illustrate. I really enjoyed it and I’m looking through the pages now and I’m quite happy with the way it’s turned out.

Shane ‘Sizzle’ Syddall (01:05:31):
Yeah, it is. I would be too.

Dave Dye (01:05:34):
That’s about it.

Shane ‘Sizzle’ Syddall (01:05:37):
Cool. So this is where, it’s just where it gets mayhem now. So there’s 10 of us on the screen. We’ve all told our stories mayhem, so I didn’t think of any mayhem, I didn’t think of any questions to ask because I was expecting that to take up all the time, but I should have realised that the stories wouldn’t take five minutes each to tell.

Tony Menzie (01:06:01):
What about telling the viewers the schedule for presents and presents? One?

Shane ‘Sizzle’ Syddall (01:06:07):
Yes. Okay. Yes. Yes. Well presents is, we are starting a Kickstarter on the 1st of July and that will run through July for 28 days I believe. And then we plan to publish the colour version, so just Comex Studio presents, that’s the colour one that will be published in early August. And so that will be an August comic and new is a September comic. But for people who support the Kickstarter, you’ll actually get Newar a month early.

Tony Menzie (01:06:52):
Kickstarter exclusive,

Shane ‘Sizzle’ Syddall (01:06:54):
Kickstarter exclusive. So yeah, it won’t be available in the Comex shop, which is where we’ll be selling it until September. But if you get it in the Kickstarter, you will get it the same time as the colour presents.

Tony Menzie (01:07:11):
And each issue has four stories.

Shane ‘Sizzle’ Syddall (01:07:14):
Oh yeah, sorry. Each issue has four stories, eight pages long each. Yeah, I don’t know what to say to that. There’s pages, each story, each creator’s come in with their own story. Some of the stories continue on to the next issue. Some of them are standalone. There’s no real pattern to that. I believe all the stories in the Presents Colour edition is they go for at least the first three issues that they continue on all four stories. The noir is a little different. There’s, I believe Lease three continues on Tony’s a standalone sort of. We were in a bit of a,

Tony Menzie (01:08:08):
Yeah, there’s a bit of wiggle room for

Shane ‘Sizzle’ Syddall (01:08:11):
Some wiggle room

Tony Menzie (01:08:12):
Shenanigans down the track there.

Shane ‘Sizzle’ Syddall (01:08:14):
Yeah. Yes. And then Duncans continues on and Dave’s is a standalone.

Tony Menzie (01:08:22):
Nice.

Shane ‘Sizzle’ Syddall (01:08:23):
Cool.

Leigh Chalker (01:08:26):
Shane, can I interrupt for a Tony? Yeah, sure. You showed me an image last night. I was talking to the noir guys, Tony, I was talking to Duncan. I was talking to Dave just to get a few questions about the character of theirs, which I’m about to draw nuances, burying things, and Tony throws up this drawing where I’ve got to be honest with you, Tony, I’m cheated you a bit. I’ve sent it out to the other dudes and gone have a look at this mate. It’s pretty good if you had it available, if it’s not rude to any of the other guys, mate, you have to have a look at this tape Menzie drawing of the Ford and Noir characters.

Tony Menzie (01:09:14):
Well that was one thing I was going to ask Duncan. I wasn’t sure with Bi Kitty the scale. So I’ve made bi kitty fairly large in mind, so I hope that’s okay, man.

Duncan Pranevicius (01:09:23):
I saw that. I thought that was, I think it’s fine. She’s about four foot 11 in the story

Tony Menzie (01:09:30):
Standing on a crate.

Duncan Pranevicius (01:09:31):
It’s fine. Yeah, exactly.

Tony Menzie (01:09:34):
Something

Duncan Pranevicius (01:09:35):
Someone,

Shane ‘Sizzle’ Syddall (01:09:37):
That’s the other thing I can tell about the comics. Oh, sorry Dave.

Dave Dye (01:09:42):
I was just going to tell Duncan I think I may have gone a little bit less than four, but that’s okay.

Duncan Pranevicius (01:09:48):
That’s alright. She’s

Dave Dye (01:09:49):
Sitting down, she’s hunched down how cats sit on their tail. I

Duncan Pranevicius (01:09:53):
Can’t even be consistent with my own height. She’s bigger and smaller. Nothing is

Tony Menzie (01:09:58):
Consistent.

Leigh Chalker (01:10:03):
I thought it was great, the four of us talking together last night, just by a text and stuff, have any yarn about that sort of thing because yeah, it’s cool man. I look forward to seeing those covers when that comes out. Because the

Tony Menzie (01:10:18):
Funny thing was, Lee, when you asked me if Killer was in a wheelchair, I’d never considered it. But man, I wish I had now ship shipped great in a wheelchair. That would’ve been a really good twist.

Leigh Chalker (01:10:31):
Well, after talking to you on Saturday and seeing those images and stuff,

(01:10:39)
These things have take place. So the cover and stuff. So I’ve been thinking about your character and Duncan’s character and Dave’s character and stuff and I just sort of got to the point last night where I was sketching and I thought like, no, you can draw a stick figure but it may not convey what you want in that character. You know what I mean? So I just thought I’d just, there’s a few little pointing questions to each character that I wanted to ask. And the really weird part was is it came back. Exactly. Bang. Okay. Yep. Got it. That’s cool. That’s all good. Leave it with me. Awesome. So it was nice conversations, man last night, but I’m really looking forward to doing the work. I’m really looking forward to seeing Presents man. It’s a good crew. It’s a really nice crew of people, mate. And

Rob ‘Spedsy’ Lisle (01:11:33):
I thought we were going to have colour guys versus the noir guys.

Leigh Chalker (01:11:39):
We could do that.

Shane ‘Sizzle’ Syddall (01:11:42):
I can move all the screens around and put this all one eye against each other if you want.

Leigh Chalker (01:11:58):
That’s right. You the singer in that

Rob ‘Spedsy’ Lisle (01:12:06):
Someone don’t quit day. I literally did quit my day job to do music.

Leigh Chalker (01:12:11):
Oh, you got the voice of an angel mate.

Shane ‘Sizzle’ Syddall (01:12:20):
This is

Leigh Chalker (01:12:20):
Something we’re on the cress of this mate having a good old crack at things man. So it’s excitingly applauded you guys for digging in and having a punt and meeting deadlines and I certainly hope I can meet my deadline because the old whip cracker up there in the left top corner, man. Oh my god.

Rob ‘Spedsy’ Lisle (01:12:46):
New deadline as such then, right? If you’re joining our Kickstarter, have you got the same deadline?

Leigh Chalker (01:12:52):
No, we’re a month later.

Shane ‘Sizzle’ Syddall (01:12:54):
Month later. So what will happen is they’ll finish their books. The colour books are all finished. When we go into the Kickstarter, the black and white UA is going to be finished at the end of the Kickstarter, ready to print straight away.

Rob ‘Spedsy’ Lisle (01:13:08):
Sweet.

Shane ‘Sizzle’ Syddall (01:13:09):
Awesome. That’s how we can print them for the backers and get them out sooner than they’re actually released.

Rob ‘Spedsy’ Lisle (01:13:18):
So there’s not a noir Kickstarter. We’re all in sort of one. That’s a good idea.

Shane ‘Sizzle’ Syddall (01:13:24):
Yeah, it’s all one. Mostly because of the rules of Kickstarter. That is why that’s happened. We were sort of forced into a corner to do that and it’s worked well. It’s working well. So yeah, just

Rob ‘Spedsy’ Lisle (01:13:38):
Awesome.

Shane ‘Sizzle’ Syddall (01:13:38):
Nice.

Rob ‘Spedsy’ Lisle (01:13:39):
So Dave has

Leigh Chalker (01:13:40):
Already

Shane ‘Sizzle’ Syddall (01:13:40):
Finished, is that? Yeah, Dave’s already finished.

Leigh Chalker (01:13:44):
Yeah. Can you believe Dave’s a

Shane ‘Sizzle’ Syddall (01:13:45):
Machine?

Leigh Chalker (01:13:47):
Damn well,

Rob ‘Spedsy’ Lisle (01:13:49):
Yeah. Ed’s on part 14

Shane ‘Sizzle’ Syddall (01:13:51):
Already. Ed, I’ve started part two. I got two panels down on part two, so Nice.

Leigh Chalker (01:14:00):
You know what I’m running with, I’ve got that much crap going on drawing wise and writing wise and stuff and juggling life and all that sort of stuff that I’m just, mate, I said to Tam the other day, you won’t see me from the 1st of July until the 28th and she’s like, why is that? And I’m like, man, I’ve got a build down 10 full on pages and three weeks and it’s like, oh, she was here now. She’d probably say it’s a nice holiday, but no, I’ve got to the point where it’s like, because my other thing’s still going too battle for bust. So I’m still drawing that and moving that along and I’ll try to fit this in, but it’ll be good. I’ll be there. I’ll be there. You can rely on Lee.

Shane ‘Sizzle’ Syddall (01:14:52):
Good stuff. Good stuff.

Tony Menzie (01:14:54):
We can rely on you.

Shane ‘Sizzle’ Syddall (01:14:55):
Put the whip away. Put the whip away for now

Leigh Chalker (01:14:58):
Please.

Jerome Castro (01:15:02):
When Dave was saying that Shane is a slave driver, I didn’t believe it, but when I saw the messages in the back or in the groups,

Tony Menzie (01:15:12):
Brutal.

Leigh Chalker (01:15:13):
Brutal.

Shane ‘Sizzle’ Syddall (01:15:18):
It’s the language I use. That’s probably the worst part. Oh,

Tony Menzie (01:15:22):
I feel so dirty.

Leigh Chalker (01:15:25):
You know what it is? The man’s so enthusiastic about things he never sleeps mate. Honestly, no,

Tony Menzie (01:15:33):
He’s going at two and three in the morning sending this stuff through. I’m going,

Leigh Chalker (01:15:36):
Yeah, he loves Australian comics. This dude up here in the left. Hey, it’s like I’m telling you he loves them and so should everyone else. Let’s listen.

Shane ‘Sizzle’ Syddall (01:15:45):
So should everyone else. Yes, everyone should love Australian comics. Definitely.

Tony Menzie (01:15:51):
Shane with the Kickstarter, when is official launch?

Shane ‘Sizzle’ Syddall (01:15:55):
Official launch is

Tony Menzie (01:15:59):
5:00 PM

Shane ‘Sizzle’ Syddall (01:16:00):
The 1st of July I think is when I’ve set it. It’s either 5:00 PM or 6:00 PM I can’t remember now. Okay,

Tony Menzie (01:16:06):
Sure.

Shane ‘Sizzle’ Syddall (01:16:07):
That’s Australian Eastern Standard time for anyone in another state. So yeah, 1st of July. I wasn’t meant to give that away till a little while ago, but it’s slipped out in one of the other shows. So sleep is for the week? Yes, that’s true. Sleep is for the week.

Leigh Chalker (01:16:28):
Sleep is

Tony Menzie (01:16:30):
Sleep all week. Sleep all week.

Shane ‘Sizzle’ Syddall (01:16:33):
Sleep all week. Yes, there’s always that as well. But I’ll get plenty of sleep when I’m dead. That’s the other one I like to say.

Tony Menzie (01:16:40):
Sure.

Leigh Chalker (01:16:42):
That’s almost like the old quote about, oh yeah, I like seafood. Seafood needed,

Tony Menzie (01:16:50):
I need by eight hours a night of sleep and 10 during the day and 10 during the day joke. Nice.

Shane ‘Sizzle’ Syddall (01:17:04):
Well what I’ll do, just quickly, I should have had this arranged for the people watching so they can get a picture of each person. So I’ll start with Ed and Oh god, yep, there he is. I’m not going to get you to talk, I’m just going to show you a picture.

Tony Menzie (01:17:21):
You’re going to be comfortable. This is Dragon. Look at that.

Shane ‘Sizzle’ Syddall (01:17:25):
This is Final Dragon. That’s awesome. Okay, and then we’ve got Peter. So this is fos.

Tony Menzie (01:17:36):
I got a visual aid printed off as well. I can show. Oh nice. We got a sing.

Shane ‘Sizzle’ Syddall (01:17:44):
Oh nice. Hang on, I’ll just zoom in on you.

Tony Menzie (01:17:46):
Wow man, that’s awesome. That looks

Leigh Chalker (01:17:49):
Awesome. Have you framed that yet, Pete? You should. I’ll

Tony Menzie (01:17:56):
Point.

Shane ‘Sizzle’ Syddall (01:17:56):
That’s awesome man.

Tony Menzie (01:17:58):
Focus on zero.

Leigh Chalker (01:18:02):
That’s cool.

Tony Menzie (01:18:03):
Sweet.

Shane ‘Sizzle’ Syddall (01:18:09):
So next line is Tony. There we go. Killer B. So that’s a visual for everyone.

Tony Menzie (01:18:17):
What a beautiful horse. So sick.

Shane ‘Sizzle’ Syddall (01:18:19):
Yeah, it’s awesome.

Jerome Castro (01:18:23):
And it’s weird because what’s his, Tony inadvertently drew my grandmother.

Tony Menzie (01:18:37):
When was the last time you paid her a visit? Man, that’s

Shane ‘Sizzle’ Syddall (01:18:41):
She’s

Tony Menzie (01:18:41):
Just my neighbour.

Jerome Castro (01:18:43):
No problem.

Leigh Chalker (01:18:44):
Hopefully she’s not called B.

Jerome Castro (01:18:49):
Well her name starts with B. So

Shane ‘Sizzle’ Syddall (01:18:55):
You’re in trouble drawing. You’re in trouble.

Tony Menzie (01:18:57):
Give her a

Shane ‘Sizzle’ Syddall (01:18:58):
Very nice to her. Very nice

Leigh Chalker (01:19:01):
Friends. None of us do. You’ll have to read the issue. If that’s the case,

Tony Menzie (01:19:09):
Say nothing.

Shane ‘Sizzle’ Syddall (01:19:13):
So okay and then I’ll move on to the next one. So we’ve got Marathon by Lee and there’s a visual for everyone to see what’s going on there. Nice

Tony Menzie (01:19:24):
Man.

Shane ‘Sizzle’ Syddall (01:19:26):
And we’ve got Ben Kitty by Duncan

Tony Menzie (01:19:31):
Blood.

Shane ‘Sizzle’ Syddall (01:19:31):
Hail. There’s the pty cat with the hole in her head.

Tony Menzie (01:19:35):
Blood. Ha

Shane ‘Sizzle’ Syddall (01:19:40):
Got Rob. Oh, I forgot to load Rob’s one. No, no, just

Tony Menzie (01:19:44):
Worry about it.

Leigh Chalker (01:19:47):
Fred Chi.

Shane ‘Sizzle’ Syddall (01:19:49):
Yes. Chilon not chi.

Leigh Chalker (01:19:51):
That’s right. I was nearly going to give you carry about that and say Fred, not Chi, but I said

Shane ‘Sizzle’ Syddall (01:20:00):
I did it myself. It’s all

Tony Menzie (01:20:01):
Good.

Shane ‘Sizzle’ Syddall (01:20:07):
Vivian Jones, a cult detective by Zach.

Duncan Cunningham (01:20:10):
Beautiful,

Tony Menzie (01:20:12):
Beautiful,

Shane ‘Sizzle’ Syddall (01:20:13):
Nice, beautiful giraffe, humanoids and Dave not Dave’s not back, but we will show his impulse and there’s the kid, the kid gets himself in trouble.

Leigh Chalker (01:20:27):
Hey,

Shane ‘Sizzle’ Syddall (01:20:28):
Making

Shane ‘Sizzle’ Syddall (01:20:28):
One bad decision Another.

Leigh Chalker (01:20:30):
I’ve got a great deal of admiration for Dave die too because that man just creates and just keeps going.

Tony Menzie (01:20:38):
Yeah.

Leigh Chalker (01:20:38):
Hey,

Tony Menzie (01:20:40):
Never

Rob ‘Spedsy’ Lisle (01:20:40):
You heard to speak things about Dave die before. This is new you.

Leigh Chalker (01:20:45):
I know, I know, I know. I can’t help it. I really like the man’s stuff mate. He’s artwork and that Honestly, maybe I do have a love and bro, maybe you’re jealous. I dunno. As Dave said other

Leigh Chalker (01:20:59):
Day,

Leigh Chalker (01:21:01):
I

Tony Menzie (01:21:01):
Reckon, I reckon Peter should do a follow on series to foes called Bros and it’s Lee and Dave, just

Leigh Chalker (01:21:11):
Peter, I’ll send you reference material from as soon as physically possible if that’s the game.

Peter Wilson (01:21:27):
Mine’s

Peter Wilson (01:21:27):
A bit more grounded.

Leigh Chalker (01:21:31):
Thank God.

Tony Menzie (01:21:38):
Oh Lee, you’ve got the best laugh in the business man.

Leigh Chalker (01:21:44):
It’s been described as a hyena or a crow and

Tony Menzie (01:21:49):
Don’t, lets drag you down.

Leigh Chalker (01:22:04):
Thank you. I’m not anymore now

Rob ‘Spedsy’ Lisle (01:22:21):
That poor crew,

Leigh Chalker (01:22:30):
They’re close that family.

Tony Menzie (01:22:38):
What else can we tell the viewers about the Kickstarter campaign? Is there anything else we can, not trying to get an exclusive out of you Shane, but

Shane ‘Sizzle’ Syddall (01:22:48):
Well

Tony Menzie (01:22:50):
Throw some bacon in the water.

Shane ‘Sizzle’ Syddall (01:22:52):
We’ve got a high level, a high tier I guess you could call it, I don’t know, mega pack, a limited mega pack I think I’m calling it. And what that includes is a original piece by each artist, not in each pack. There’s eight packs, eight artists, eight drawings, so one drawing per pack and it’s pretty much a case of first in first served if you’re the first person you get to pick who your artist is, the second person gets to pick from who’s left and so on. So it’s a

Rob ‘Spedsy’ Lisle (01:23:29):
Race. I can’t wait. You picked last just like in high school.

Shane ‘Sizzle’ Syddall (01:23:33):
Oh no, no, no. The plan is, I’m not going to tell you where you came. I’m not going to tell anyone there’ll be No, no, no.

Tony Menzie (01:23:46):
We’ll find out. There you go,

Shane ‘Sizzle’ Syddall (01:23:48):
Rob, you’re

Rob ‘Spedsy’ Lisle (01:23:48):
A winner.

Shane ‘Sizzle’ Syddall (01:23:49):
You’ll find out because they do have numbers unfortunately. So the pledges will be able to tell you where they were in the order so it can be worked. If you try hard enough, you’ll be able to work it out.

Tony Menzie (01:24:06):
That’s

Rob ‘Spedsy’ Lisle (01:24:06):
Awesome. Not sleep that night.

Tony Menzie (01:24:09):
I might try and grab one or the two myself. That’s a really good deal.

Shane ‘Sizzle’ Syddall (01:24:12):
Yeah, so that’s,

Leigh Chalker (01:24:15):
You’re sending a stocked card with X printed on the bottom as well, is that what

Shane ‘Sizzle’ Syddall (01:24:19):
You were saying the other day? Yes, it’ll be a special, I don’t know the art terms, but yeah, a five sheet with logo printed on it. That’s it.

Rob ‘Spedsy’ Lisle (01:24:33):
That’s a great idea. I’ve asked 15 sheets so that I can it up. 14, that’s why

Leigh Chalker (01:24:45):
Tablet mate. Because I might go through 250.

Shane ‘Sizzle’ Syddall (01:24:51):
Okay, I’m just going to write down some new numbers for what I’m getting printed.

Edmund Kearsley (01:24:57):
Is anyone worried about the rolling deadline? Once the Kickstarter starts?

Shane ‘Sizzle’ Syddall (01:25:01):
Always.

Edmund Kearsley (01:25:03):
That’s why I

Tony Menzie (01:25:06):
Zach

Rob ‘Spedsy’ Lisle (01:25:06):
Nodding. I keep telling my wife after July 28th I’ll be able to do stuff again and then I’m like only for about three days. I told people July 28th deadline for ose too. So I’ve got to try and get that in. So yeah,

Shane ‘Sizzle’ Syddall (01:25:30):
How’s that going? You can do it.

Rob ‘Spedsy’ Lisle (01:25:33):
Yeah, I’ve done three pages.

Shane ‘Sizzle’ Syddall (01:25:34):
We’ve got Dave on camera,

Rob ‘Spedsy’ Lisle (01:25:36):
Everyone else. Did you find

Tony Menzie (01:25:37):
Your Rob, did you find someone for that page or two?

Rob ‘Spedsy’ Lisle (01:25:42):
No, not yet.

Tony Menzie (01:25:43):
Here’s the, okay. Yeah, I’ve been trying to come up with an idea but I haven’t yet. So if I do, I’ll give you a bill. If not,

Rob ‘Spedsy’ Lisle (01:25:50):
Oh yeah, sure,

Tony Menzie (01:25:50):
Sure. I’ll blank you.

Rob ‘Spedsy’ Lisle (01:25:56):
You know what,

Leigh Chalker (01:25:57):
I reckon everyone should come up with a really theatrical thespian version of Shane and Jerome. You had that dude Duncan Cunningham on before and he was doing voiceovers and stuff and in the last couple of days and stuff. My thoughts have wander to that and we should all write a synopsis and have a crack at doing thespian type vocal go at it. Why

Tony Menzie (01:26:35):
Not just

Leigh Chalker (01:26:39):
A synopsis even, I don’t know, with Kickstarters and stuff, I reckon that that sort of stuff strangely interests people man. Have you seen the crap on TikTok? I don’t watch that stuff, but everyone I know is talking about it. It’s like seriously

Tony Menzie (01:26:56):
Dude, it’s a black hole of weirdness.

Leigh Chalker (01:26:59):
Oh man, you got to try things.

Rob ‘Spedsy’ Lisle (01:27:02):
Do you want us to read of our story with a thespian tone?

Leigh Chalker (01:27:08):
Yes.

Tony Menzie (01:27:10):
Oh, like a movie preview day preview. Yes.

Rob ‘Spedsy’ Lisle (01:27:15):
Is

Tony Menzie (01:27:15):
It for the Kickstarter video?

Leigh Chalker (01:27:17):
Video? Why not?

Tony Menzie (01:27:19):
I dunno.

Leigh Chalker (01:27:20):
We dunno. It may be rubbish but you can’t.

Rob ‘Spedsy’ Lisle (01:27:23):
Well

Tony Menzie (01:27:24):
I can put images to that, so if you just want to do voices. So yeah,

Rob ‘Spedsy’ Lisle (01:27:30):
The devil’s toilets. He’s a literal toilet.

Tony Menzie (01:27:35):
There you go. Nice

Rob ‘Spedsy’ Lisle (01:27:39):
Through the ages.

Tony Menzie (01:27:43):
When did you come up with that

Rob ‘Spedsy’ Lisle (01:27:44):
Name Rob? For the devil’s toilet? Oh, Frederick. Well lon is another word for turtle or it’s some sort of, there’s a species of turtle that’s a chalon and then Lon,

Tony Menzie (01:28:01):
This bloody show is amazing. Just what people must be learning from. It’s an education there, doesn’t it?

Rob ‘Spedsy’ Lisle (01:28:26):
Lon turtles are reptiles of the order. Chiia

Leigh Chalker (01:28:41):
Do your Spanish accent, Rob that you did a couple of weeks ago.

Tony Menzie (01:28:51):
Come on

Dave Dye (01:29:01):
Italian.

Tony Menzie (01:29:04):
Yeah, you sound Italian. This is my other accent. I won’t.

Leigh Chalker (01:29:18):
World domination

Tony Menzie (01:29:21):
Dominate you in a minute, Lou. Well

Leigh Chalker (01:29:24):
You got to about that. It makes me laugh.

Tony Menzie (01:29:42):
You

Leigh Chalker (01:29:43):
Wouldn’t get past Mackay mate. You’d turn back because of the heat. A long way north.

Dave Dye (01:29:58):
I’ve got two. Can you see that?

Tony Menzie (01:30:01):
Oh, there we go. I’ll just boost you up cover so far. Nice Dave. That’s brilliant man. Very cool.

Dave Dye (01:30:13):
She’s hitting in a chair mate, not wheelchair. No,

Tony Menzie (01:30:17):
That’s good. She has had a long day. She’s knackered.

Dave Dye (01:30:19):
Yeah,

Tony Menzie (01:30:21):
That’s so good

Dave Dye (01:30:22):
There. Ben Kitty sitting on the armrest.

Leigh Chalker (01:30:32):
Dave, I’m not allowed to speak my appreciation off you tonight. Wow,

Tony Menzie (01:30:43):
I did that. That’s

Dave Dye (01:30:44):
After you shared that photo that Tony did last night. I thought, geez, I haven’t even started on that so I better do something. So before I went to bed, I knocked that one up, I thought I can’t go to bed. I’ll get something done mate.

Leigh Chalker (01:30:57):
I’m two weeks behind you. Don’t worry about

Tony Menzie (01:30:59):
That.

Leigh Chalker (01:31:07):
I’m coming last in this race course. Oh

Dave Dye (01:31:09):
Mate, I’m surprised I’ve got it all done. The story done. The title page, the cover page, the advertising page. What else we got to do?

Tony Menzie (01:31:20):
That’s it.

Dave Dye (01:31:22):
Cover this one here. Two pages.

Tony Menzie (01:31:25):
My washing the dishes, two, three. There’s a bit out the front that needs to be repainted.

Dave Dye (01:31:36):
Don’t worry. I’ve got enough of those sort of jobs here today.

Leigh Chalker (01:31:41):
I got a couple of tree branches banging against the gutter mate. You can whip up here if you want and knock them off too. So

Dave Dye (01:31:49):
There’s enough banging going on up there I’m sure without me.

Leigh Chalker (01:31:58):
Are you suggesting that it’s Windy Day?

Dave Dye (01:32:03):
Windy day?

Leigh Chalker (01:32:05):
Ah yes, yes. It’s very windy.

Dave Dye (01:32:13):
It writes itself.

Isaac George (01:32:17):
Driver,

Leigh Chalker (01:32:19):
I beg your pardon, Zach, what was that mate?

Isaac George (01:32:22):
When Shank bails to be the mean slave driver for you, then you have to deal with me who’s putting the book together?

Dave Dye (01:32:30):
The slave driver there for sure.

Leigh Chalker (01:32:32):
Yeah.

Dave Dye (01:32:33):
Of exact funnels. Yeah,

Shane ‘Sizzle’ Syddall (01:32:36):
I’ve got the whip.

Leigh Chalker (01:32:37):
Well thank you for that too, Zach. And

Isaac George (01:32:41):
Added pressure, just that.

Leigh Chalker (01:32:44):
No, that’s cool man. I don’t need any more of that, but I’ll get through it. Just

Dave Dye (01:32:54):
Shane, put down the whip. Yeah, put down the whip. What I’ll do now

Leigh Chalker (01:32:58):
Shane’s probably sent a message through to you Zach, hasn’t he? I won’t say anything now. I’ll let Zach say something.

Isaac George (01:33:08):
No, I’ll be doing my, don’t worry.

Shane ‘Sizzle’ Syddall (01:33:13):
Well just going to interrupt just so everyone knows who’s watching with these covers that we were just shown where people within the comic, they take all the characters from the other stories and make a cover in their style. So we’ve actually got the presents colour, they’ve already done their covers. So we’ve got Zach’s cover with all the characters.

Dave Dye (01:33:38):
That’s right. They’re in the smoke. Yeah, that’s right.

Isaac George (01:33:43):
Be there. I swear

Dave Dye (01:33:48):
Vivian looks very different there mate.

Isaac George (01:33:52):
That’s one of the villains from the book.

Dave Dye (01:33:56):
Oh right, right. Okay. So most of the characters in the book are giraffes,

Isaac George (01:34:04):
Everyone’s giraffe.

Shane ‘Sizzle’ Syddall (01:34:05):
Believe

Dave Dye (01:34:06):
Everyone, everyone’s a right.

Leigh Chalker (01:34:09):
Dave, I’m totally in sync with Zach’s idea because everyone that’s in my society is the giraffe as well.

Dave Dye (01:34:19):
It was

Leigh Chalker (01:34:19):
Unusual that Zach was almost like he was living in Townsville.

Dave Dye (01:34:25):
My,

Leigh Chalker (01:34:29):
Well, similar climate I suppose.

Shane ‘Sizzle’ Syddall (01:34:40):
Okay. And then we’ve got X cover. We’ll just jump straight into that. I call him karate guy. What’s his name? Ed

Dave Dye (01:34:49):
Bobby Long.

Shane ‘Sizzle’ Syddall (01:34:51):
Bobby Long.

Tony Menzie (01:34:59):
And we got Peters

Shane ‘Sizzle’ Syddall (01:35:01):
With all the characters doing a photo shoot.

Dave Dye (01:35:04):
Yeah, excellent.

Tony Menzie (01:35:05):
It’s

Shane ‘Sizzle’ Syddall (01:35:05):
Very nice. And we’ve got Robs a scene of the crime.

Tony Menzie (01:35:17):
You

Leigh Chalker (01:35:17):
Are such distinct styles, man. That’s the best thing. You’re all so different and you got your own vibes going on. It’s awesome.

Tony Menzie (01:35:25):
And that’s the, I’m

Shane ‘Sizzle’ Syddall (01:35:26):
Looking forward to the new ones as well now.

Tony Menzie (01:35:31):
So

Dave Dye (01:35:33):
The next couple of days, I’ll probably finish that tomorrow.

Shane ‘Sizzle’ Syddall (01:35:38):
Your machine, Dave, your machine.

Tony Menzie (01:35:40):
Really?

Dave Dye (01:35:40):
It’s alright, I can work on this stuff. Everyone else has got day jobs. I can work on this through the day, so I’m lucky you. When do you

Leigh Chalker (01:35:54):
Rip into the old? Now you said in an interview once that your drawing desk was from picture or people magazines, didn’t you?

Dave Dye (01:36:07):
Yeah,

Tony Menzie (01:36:08):
Mail.

Leigh Chalker (01:36:09):
Yeah. Have a look. May I, if it’s okay, just get you while we’re talking, can you show these guys your drawing desk? It’s unbelievable, man.

Dave Dye (01:36:21):
This one?

Leigh Chalker (01:36:23):
Yeah,

Dave Dye (01:36:29):
That’s it.

Leigh Chalker (01:36:29):
Look at that.

Tony Menzie (01:36:32):
Damn. Wow, nice

Dave Dye (01:36:36):
Came with these clips. Hang on. No it didn’t. I get the clips from, I think I’ve just bought them in the shop. Hey, Jim Magazine. These came with a box of drawing pins. I was supposed to stick drawing pins to hold the paper on, but I use these clips here.

Tony Menzie (01:36:55):
Nice. Yeah,

Dave Dye (01:36:57):
There’s two of them.

Leigh Chalker (01:36:58):
So do you move that desk around or do you move the paper around when you got to get to different angles?

Dave Dye (01:37:07):
Hold some. See sometimes I’ll have the, it’ll be clipped on like that. That’s an A three sheet. I’ll just work it clip, but then sometimes I have to move it so I unclip it and just raise it up or turn it around or whatever and then put it back in the clip when I want to go back to the standard operating procedure.

Tony Menzie (01:37:35):
What’s that page you’re working on there, Dave?

Dave Dye (01:37:37):
What’s that mate?

Tony Menzie (01:37:39):
What’s that page you’re working on there?

Dave Dye (01:37:42):
That’s Rick McClean.

Tony Menzie (01:37:44):
Nice

Shane ‘Sizzle’ Syddall (01:37:47):
Exclusive.

Leigh Chalker (01:37:48):
Oh, there’s an exclusive, alright. Yeah,

Dave Dye (01:37:51):
I finished the outlines today and I’m just got to go in and spot the blacks now.

Tony Menzie (01:37:58):
Brilliant man.

Dave Dye (01:37:59):
So I’ve done most of them,

Tony Menzie (01:38:03):
Man. You’re a worker, Steve. Oh beautiful. Oh wow.

Leigh Chalker (01:38:12):
So is this to a sped Z script?

Dave Dye (01:38:15):
No, actually this one here, I’ve got an old on the back has got a story for Dropship 15 that I never finished. Well I finished it, but I can’t waste that paper. There’s a whole story with Dropship 15 that I abandoned because it was too controversial.

Tony Menzie (01:38:42):
Interesting.

Dave Dye (01:38:43):
I’ve been accused of being racist and different things. So you just got to, that story was even worse than the ones I got accused for being a racist in. So I’ve candid, Dave

Tony Menzie (01:39:01):
Was probably a year back, I think I heard you go onto a podcast where they insinuated a bit of that in the review and you to your undying credit went on and talked through the process and they saw your point of view that it wasn’t anything like that.

Dave Dye (01:39:19):
No, it

Tony Menzie (01:39:19):
Was their interpretation thereof. Yeah,

Dave Dye (01:39:21):
Yeah, yeah. That’s just a common thing that we have to be, we we’re all under that worry. Now you say something and people too easily offended or take things the wrong way and can nail you and label you as being something that was totally not intended. And even in my last amazing tales, number four, the horror, the chiller issue, one person that I showed reviewed that they called me, they said I was having a go at lesbians and I was being rude to them and anti lesbian and stuff for that. And what, oh, okay. I can’t see it. I think I’m making excuses. I suppose. I’m a baby boomer, I’m 62 years old, so I’ve got a different way of looking at things to my way I grew up is different and sometimes I have trouble adjusting to the 2020 and that’s an excuse I guess, but it’s always something I have to double check with and stuff.

Tony Menzie (01:40:50):
But mate, again, with that podcast you went on and you weren’t defending yourself per se, but you were going on the show to discuss your reasoning, your inspiration, your background for the story. And I really admire you for doing that, mate, because most people would go screw that, but you’ve got that extra mile, you’ve contacted them and sort of stayed in touch and they’ve reviewed further stuff from you and then they’ve given it glowing reviews, haven’t

Dave Dye (01:41:18):
They? Oh yeah, yeah. It’s just one particular story and one particular part of the story. I don’t think they minded the story. There’s just the way that I’d presented a couple of the characters in there and because of the original structure of the story actually that story that I’ve just not printed or not gone ahead with is probably one of the first ones I did. And it was really because it was very anti isis. But if you put a terrorist in Arab garb, you’re considered to be picking on the Arab race.

Tony Menzie (01:41:59):
Yeah, yeah. It’s tricky, isn’t it? Yeah. For

Dave Dye (01:42:01):
Me it’s not about that, it’s about terrorism. I was trying to say something about terrorism.

Tony Menzie (01:42:08):
Yeah, it’s about the actions, not the guard or the,

Dave Dye (01:42:13):
So once you do that, and then when I started to change things a little, it started to, it got grey and it became muddled as to who I was having a go at I suppose. And I dunno, I think that’s where it got out of control a little bit.

Tony Menzie (01:42:32):
Yeah,

Jerome Castro (01:42:37):
Well you know what they say about opinions, Dave, so don’t worry about it man. Yeah,

Leigh Chalker (01:42:41):
Yeah, I agree with your own. And I would like to say that I’ve had multiple conversations with you, I’ve had a lot of friend talk, professional talk. What we do is draw together and that sort of stuff. And mate, I certainly would cast aside if I was you, any of those things that were thrown at you mate, because I certainly have not ever thought that about you, mate. You’re just a storyteller and sometimes and you’re never going to get everyone happy with everything you do, are you? You’re certainly not what those people have labelled you mate in my time with you. So I would very like to stand with you and say, look mate, you’re all good with me man.

Tony Menzie (01:43:37):
Nothing but a gentleman.

Jerome Castro (01:43:39):
Exactly. And I’ll tell you guys, as the only brown guy so far in the room, I can tell everyone who’s listening here that Dave is a very classic guy.

Dave Dye (01:43:50):
So

Leigh Chalker (01:43:52):
Yes,

Tony Menzie (01:43:56):
If you’ve just joined us, this is the Dave Di fan club. If you’ve had a good

Leigh Chalker (01:44:01):
Well, I’m the president mate, we’ve already, you can cast your votes and guess what, I ain’t moving from this seat, man.

Dave Dye (01:44:16):
Yeah, that’s right. Well I’ll probably send in that mob that did the review I like. I think they’re good people and I was just, I’ve seen more comics for them to review because I think it’s great for all of us to get independent reviews done by people who will speak up and point out things out to you. Exactly.

Tony Menzie (01:44:40):
Absolutely.

Dave Dye (01:44:41):
You can give your comics to your friends and your mom and your wife and all that and they’ll say, yeah, that’s very good. You’ve done a really good job. But you want someone who’s going to be a hundred percent independent and say, look mate, I dunno what you’re doing here or this is good if you get this is good from independent, that’s great. All criticism, constructive criticism is great. I love it. Exactly. If someone picks holes in it and say, look, this is no good, this is no good, this is the reason. Give me a reason why it’s tell. Exactly. You’ve got something to go with.

Tony Menzie (01:45:27):
That’s exactly right. And that’s what we crave. It’s all the, oh this is great, this is fantastic. Is just the echo chamber effect is just, there’s nothing to work with there. There’s no room to grow.

Dave Dye (01:45:40):
Yeah, that’s right. It’s always

Leigh Chalker (01:45:43):
Good to have conversations.

Dave Dye (01:45:45):
Yeah. Yeah. I like to actually, if you read here, plugging my stuff, but amazing tales. You have a look at the letters pages in there. I print the comments in that that I get and you have a read through there and you’ll see the good and the bad and the ugly. So that’s all good. And a lot of it’s funny, I laugh at the first bloke who got to review amazing tales. Number one came back to me, he is a respected comic reviewer and comic personality. He said, geez, I like the stories, but I don’t know where you’d sell this stuff, mate. Maybe at a country agricultural show or a woodworking convention, they might be interested, but I don’t think anyone else will be,

Leigh Chalker (01:46:34):
Well Dave, you know what? You sold them to me. So tell that reviewer to go and stick his woodwork in fucking chainsaw farm buddy model.

Dave Dye (01:46:50):
I don’t care. I love it. I quote that a hundred times. I love quoting that one because that’s one of my best sellers.

Leigh Chalker (01:46:59):
And there you go. How weird is that

Dave Dye (01:47:01):
Everyone’s got a different idea and what I like is not what you like or someone else likes, so don’t worry about what one person says. Get a broad cross section if you can.

Tony Menzie (01:47:13):
Yeah. And you’ve done, oh sorry.

Dave Dye (01:47:16):
Yeah, I was just going to say, you might get a bad review. Don’t go cutting your wrist over it because give it to someone else and hopefully you’ll get some good feedback and if you do get good bad feedback, say why don’t you like it or what’s wrong, the art, the story, whatever, and nail it down and then prove it on your next one.

Rob ‘Spedsy’ Lisle (01:47:38):
That’s it.

Tony Menzie (01:47:38):
Yep, that’s exactly. You’ve done quite a few short stories haven’t you Dave?

Dave Dye (01:47:44):
Yeah, I like to do short stories.

Tony Menzie (01:47:47):
Yeah, I’m on focus. This is my first sort of self-contained eight pager and I’m finding it really, it’s a really interesting challenge. How’s everyone else finding the form, either chapterization of eight pages or self-contained eight pages. It’s an interesting challenge for me anyway. Yeah,

Rob ‘Spedsy’ Lisle (01:48:05):
Yeah. I tried to do two cliffhangers, so I’m doing three parts and I wanted to read one story, but I want each part to read a story as well. And so the time the cliffhangers without revealing everything, it’s a challenge, but it’s right on the, I hate a challenge where something feels impossible, but this is just enough challenge that I

Tony Menzie (01:48:34):
Enjoy it. Yeah. Enough to make your reach. But you can get that finger hold and

Rob ‘Spedsy’ Lisle (01:48:39):
Yeah.

Dave Dye (01:48:43):
Well I gave the first comic I put out, I had the short stories, it’s got the different one one’s eight pages, another’s 14 or 15 pages or something, another’s three pages another whatever pages adds up to 32. They always got to add up to 32 for me. But I like the small format because some of ’em are short and snappy and get into it and others are a bit longer, but my sister said, oh, they’re all too short, bring them out. But sometimes you like a nice short, snappy, get in and get out.

Tony Menzie (01:49:21):
There’s a lot to be said for that, isn’t there? To not overstay your welcome. Yeah,

Dave Dye (01:49:26):
Yeah.

Leigh Chalker (01:49:30):
And get that story across. And even there’s artists out there and creators that do those one page stories. Like Rob, you just advertised one page, two pages for people in Vamoose the other day. And I read that and I thought, man, I can’t do that. So kudos to anyone else that can, but I couldn’t even begin to imagine a one or two page story. It just isn’t. So these short stories

Tony Menzie (01:50:02):
Turning though, isn’t it, to sort of start the gears turning and thinking, how would I do that? What would work? What would be a functioning one page or two page structure to get

Leigh Chalker (01:50:13):
So something

Tony Menzie (01:50:14):
Across? Yeah.

Leigh Chalker (01:50:15):
And then you start thinking like, okay, got to make the panels flash. You keep, your whole mind starts working to look, how do you get a start, an introduction? I mean essentially it’s the three part play, isn’t it? The introduction, the hero in the fucking dark zone and then the ending. And you’ve got to do that in one page, like say six panels or eight panels. Like man, that’s brave for people to do that.

Edmund Kearsley (01:50:47):
But if you think about it, the peanuts is that in three panels

Dave Dye (01:50:51):
It’s set up,

Tony Menzie (01:50:54):
It boiled down to its core components.

Dave Dye (01:50:56):
Yeah, yeah, that’s right. That’s basically it. You’ve got to have a beginning, a middle and an end. Yeah. So I got a story from someone one time that wanted me to illustrate it and basically it was just a joke that was extended over three pages

(01:51:15)
And I didn’t like it actually. I said, no, I don’t want to do that, obviously just a joke that’s been puffed up. So I didn’t do that one. But you’ve got to be careful with it. You got to make actual, you’ve got to tell a story. You can’t just have a punchline that you could almost see it from the first panel what was going to happen at the end. So you still got to tell something that’s interesting and a twist. I like to put a bit of a twist at the end or something on you.

Leigh Chalker (01:51:44):
Well if you can’t get the story Dave, you may as well just say that for example to the publisher, I’ll just do your pinup. You know what I mean? Or a three page. I mean that’s the tricky element of it. It is like how do you translate one, say a three page into a story that reader will devour and love and come back to it like wow. And seriously thumbs up to anyone that’s done that successfully, that’s fantastic and bravo. But I won’t be on that playing field. I can tell you it’s

Peter Wilson (01:52:27):
Set pages as a really good way to whittle down and make sure what you’re putting out is the best and not just, I find that because if I find something vaguely amusing, I’ll just cram three panels in no problem. But with this one I had a very tight eight pages I could work with. So I really have to go through and go, is this worth keeping, is this, and by the end of it, it was a much more refined, much more energetic story.

Dave Dye (01:52:51):
Yeah, right.

Peter Wilson (01:52:52):
Cool. So definitely give it a shot.

Dave Dye (01:52:55):
Pete, did you write the whole story out just off the top of your just, okay, I’ve got a story and you wrote it out and then you trimmed it down from there to eight?

Peter Wilson (01:53:06):
Yeah, with my last comic Crimson, I was really stripped with the script. I stuck to it word for it, I slave just as long as the script as I did on the art. And then I followed that and I realised it’s not that funny, it just feels like I’m connecting dots. But with, I thought I’m going to do the opposite. I won’t have any script, I’m just going to wing every page and see what happens. But then it meandered too much and I wasn’t getting to the point. I was just having fun drawing and the story was taking forever. So now I’ve hit this nice sweet spot where I kind just have notes and technical and then it doesn’t get technical until I do the page layout and then I find that works best for me.

Dave Dye (01:53:44):
Yeah, right.

Tony Menzie (01:53:46):
Well

Leigh Chalker (01:53:47):
I’ve done that battle bus Pete, so I’m right there with you.

Dave Dye (01:53:53):
Four issues. Four issues.

Leigh Chalker (01:53:56):
Yeah, no, I’m winging a bit of it there mate. Don’t worry about that. No, I can definitely, yeah, I love sitting here listening to you guys talk about your creative balances and stuff like that. It’s great. Hey,

Tony Menzie (01:54:12):
It’s of this community, isn’t it there? Yeah,

Leigh Chalker (01:54:15):
Yeah.

Dave Dye (01:54:16):
What about you Duncan? How did you go about writing your story, mate?

Duncan Pranevicius (01:54:21):
Everything. I don’t script anything. Everything’s just sort of plotted out. I got a vague points pretty much. I know the beginning, I know the ending, I know the points where I wanted to be and pretty much anything between there is where it goes. Basically I take a lot of writing inspiration from the way Sherman manga writers go, like people that write comics weekly. And a lot of that is just they got the vague timeline and then just plotting out in between there. And I find that right that what’s that

Tony Menzie (01:55:02):
Saying? There’s that sense of immediacy almost, isn’t there?

Duncan Pranevicius (01:55:06):
Yeah, exactly. Yeah, you don’t really ever think anything. It’s just pretty much exactly like what you want to put in and nothing really filler, just bare just exactly what you want to do.

Leigh Chalker (01:55:19):
It’s almost a stream of conscience sort of creation. Yeah,

Duncan Pranevicius (01:55:24):
Yeah. It’s pretty much whatever comes to you, it’s like that’s the direction you’re going and that’s the way it fits.

Dave Dye (01:55:31):
Right. I do the point form, but what I do, I’ll get an idea, just a rough idea. It might be just a sentence in my head and ideas. Joe Blow steals a watch and has trouble and then I sit in the lounge chair and I lay in the bed and I just think about the story and it might take me a couple hours and I just go through what could happen, the various things in here, this actually works and I mow the whole story through and then I’ll sit down with a piece of paper and a pen and write out like you do in points.

Duncan Pranevicius (01:56:16):
Yeah, that’s exactly what I do for any of every issue I do is exactly that. I got to to see making dinner or something, I’m like, oh that’d be good. And I go and just immediately write something down. That’d be good to happen at some point or anytime of the day just my notes in my phone are just shock full of

Dave Dye (01:56:35):
Stuff.

Tony Menzie (01:56:36):
Exactly the same man, that’s

Duncan Pranevicius (01:56:37):
It. Yeah, exactly. Throughout the day. Yeah, you’re just on the toilet and you’re like, oh,

Dave Dye (01:56:43):
Where’s the paper?

Peter Wilson (01:56:45):
Good ideas. But they just come to you. It’s awesome.

Dave Dye (01:56:48):
Yeah, exactly. My

Peter Wilson (01:56:50):
Best ones always more organic like that

Duncan Pranevicius (01:56:53):
You watch something like, oh I really want to rip that off, but I want do it in original way. So totally. How can I manipulate this?

Dave Dye (01:57:04):
I get in the car and I’m driving a four or five hour trip, there’s a perfect time to think about a story. I’ve got to write a story for Shane, what am I going to do? And I’ll just try and think about it while I’m driving soon in the car.

Duncan Pranevicius (01:57:21):
I think one of the most fun parts of the process is just having to come up with something, having a general idea and sort of having to expand on it. One of the most fun parts actually, you just do all, you just laying in bed while I’m going to sleep and you’ll just sort of play it out almost like a projector in your head and see how it goes.

Dave Dye (01:57:41):
Yeah, yeah, for sure.

Tony Menzie (01:57:44):
And it’s nice in that early stage where anything is possible, nothing is,

Duncan Pranevicius (01:57:49):
You know where it’s anything’s going to go and it’s just going the way it’s going to go.

Dave Dye (01:57:53):
Yeah. Or how it’s going to get there. You might know where you want to go, you might know the ending, but you’ve got to fill in the middle and you dunno how you got, you got to get from point A to point Z, fill in the bits in between and that’s it. All these

Duncan Pranevicius (01:58:10):
Changes too, while you’re even doing up page layouts and something doesn’t work and you expand on something, it always changes while you’re even in the process of making it and it just changes the entire direction around.

Dave Dye (01:58:25):
Cool.

Shane ‘Sizzle’ Syddall (01:58:28):
Well we’ve hit the two hour mark guys and I found out from experience that no one watches the videos that go over two hours. This an excuse. I wanted to just zoom in on Ed because he’s got some awesome

Dave Dye (01:58:49):
Promotion

Shane ‘Sizzle’ Syddall (01:58:49):
Going on here. Sit up a bit Ed serious. A shirt.

Dave Dye (01:58:58):
Nice snazzy. Sorry

Shane ‘Sizzle’ Syddall (01:59:02):
I had to get that in there. I had to get that in there.

Dave Dye (01:59:04):
Very good. Well done. Sorry mate. You don’t get the applause. Did you get that printed locally

Rob ‘Spedsy’ Lisle (01:59:18):
Offshore?

Dave Dye (01:59:21):
It’s on Redbubble or something like that. Print on demand things. How much do they charge you for that mate? I think they’re about 30 bucks. Oh

Shane ‘Sizzle’ Syddall (01:59:31):
Yeah, that’s That’s about normal. Yeah,

Peter Wilson (01:59:34):
I a, I was hoping it’d be here by today, but I look like I was copying you anyways. That’s okay.

Dave Dye (01:59:43):
Time

Rob ‘Spedsy’ Lisle (01:59:46):
Our own characters like the biggest ever yours.

Dave Dye (01:59:55):
Actually

Shane ‘Sizzle’ Syddall (01:59:56):
I didn’t wear the comics shirt.

Dave Dye (01:59:58):
Yes. Goodness gracious. Open man.

Leigh Chalker (02:00:04):
Rob, I’m wearing a battle for Bustle shirt man. I mean, so I’m all about stuff forever, man.

Dave Dye (02:00:13):
We go Zoom mate.

Peter Wilson (02:00:20):
I did some short ones. I showed them the last live stream with you.

Dave Dye (02:00:24):
Awesome.

Peter Wilson (02:00:26):
They’re just really small.

Dave Dye (02:00:30):
Oh yeah.

Peter Wilson (02:00:32):
Style.

Dave Dye (02:00:33):
Yeah. Nice.

Peter Wilson (02:00:34):
I’m going to be giving them out, so if you want one DM me, I’ll send you one.

Dave Dye (02:00:37):
Oh, wicked sweet.

Peter Wilson (02:00:40):
It’s going to be like a, maybe you get zero story, maybe you get’s story, but you guys can have both. You

Dave Dye (02:00:49):
Got any comics out at the moment?

Peter Wilson (02:00:52):
Just the Crimson ones. The Crimson one and two and the shop.

Dave Dye (02:00:59):
Where’s your shop? You got a shop available? Where do we get there?

Peter Wilson (02:01:05):
That’s my, I have an

Dave Dye (02:01:12):
And maybe an appearance in

Shane ‘Sizzle’ Syddall (02:01:14):
The,

Peter Wilson (02:01:14):
I’ll send you a message if you want to have a look at.

Dave Dye (02:01:18):
No

Shane ‘Sizzle’ Syddall (02:01:18):
Worries. So what you’re trying to say is, do you want me to zoom in there

Rob ‘Spedsy’ Lisle (02:01:27):
A story called Oodle Dom’s.

Dave Dye (02:01:30):
Awesome. Nice. I’ve got there. Tony for a second. Thought I was pimping my own stuff during people talking about Peter.

Shane ‘Sizzle’ Syddall (02:01:46):
I’m,

Dave Dye (02:01:47):
He’s my style a little bit.

Shane ‘Sizzle’ Syddall (02:01:49):
Oh radical. Nice.

Dave Dye (02:01:50):
I’ve got those. Hey they’re, have you read Dave? Great stuff mate. Yeah, great. How do you carry your bottles of Coke, mate? How does everyone carry their bottles of Coke? Who carry it like that? Making me nervous. You got to read that little ash can mate. So there’s a one story on the back of that one too.

Shane ‘Sizzle’ Syddall (02:02:23):
One

Dave Dye (02:02:27):
Rip the stuff mate.

Shane ‘Sizzle’ Syddall (02:02:30):
Yep.

Dave Dye (02:02:31):
Alright,

Shane ‘Sizzle’ Syddall (02:02:32):
Everyone will be back in a few weeks I think. I can’t remember the order off the top of my head, but I know I’ll be getting one book and then the other book so it won’t be eight of us again. That was just for tonight. I’ll let you guys know. And yeah, so 1st of July, Kickstarter starts. I was hoping to have the pre-launch page up, but because I haven’t sent the calendars out yet, they won’t let me.

Dave Dye (02:03:01):
Okay.

Shane ‘Sizzle’ Syddall (02:03:02):
Yeah, so I got rejected once again.

Dave Dye (02:03:09):
Don’t worry mate. You’ve got a tissue here. Story

Shane ‘Sizzle’ Syddall (02:03:12):
Of my life

Dave Dye (02:03:14):
Of

Shane ‘Sizzle’ Syddall (02:03:14):
Life.

Dave Dye (02:03:18):
Thanks

Shane ‘Sizzle’ Syddall (02:03:18):
Dave. Well thank you everyone for coming on tonight. Thanks for telling us your stories. Thank you for being part of Presents and Comex studio. I appreciate it so much that you are sharing your stories with us all and I think that’s us for the night. Absolutely. Thank you very much everyone. Awesome. Thanks guys. Thanks guys. Thank you everyone. Wish you all the best of luck with deadlines and the launch

Dave Dye (02:03:54):
On your fellows. Hang up. See you in a minute.

Shane ‘Sizzle’ Syddall (02:03:57):
No one hang up. Yes, we’re off.