What, When, Where, Why and How does Leigh get what he does done? And who inspires him! It’s the Premiere episode of Sunday Spotlight where we shine a light on the different processes behind different comic creators in Australia. This week we have Leigh Chalker in our sights. The magic behind the man is our target.
TRANSCRIPTION (there may be errors in the following text)
Peter Wilson (00:10):
Welcome Premiere episode Sunday Spotlight. I’m Peter, you might know me from various comics, publishings, foes, Crimson, and Racal. The comics drink and draws with me, fearless founder of Comics Shane, otherwise known as Sizzle. You’ll be marry the buttons for us tonight. And the guest, you might know him. Battle for Bustle Marathon. The nicest guy in Australian comics at the moment. Host of Tuesday, chinwag Lee Chaka
Leigh Chalker (00:39):
<laugh>. Hello, how are you?
Peter Wilson (00:42):
So yes, what’s Sunday Spotlight? What’s it all about? We’re looking at the creative process that goes into making comics. That’s my favorite thing. I love finding out how creative people reach from point A to point B when they’re working on something. I’m hoping we can get into all of that and deep dive. My favorite Medium comics. And what’s the best kind of comics? Aussie indie comics. All right, so we’re going to start rapid fire around Lucy goosey questions. Favorite color
Leigh Chalker (01:14):
Peter Wilson (01:15):
What are you reading or collecting at the moment?
Leigh Chalker (01:19):
An awful lot of Australian independent comics.
Peter Wilson (01:22):
That’s the way correct. Are you a day person or a night person?
Leigh Chalker (01:28):
Definitely a day person.
Peter Wilson (01:30):
Least favorite thing to draw.
Leigh Chalker (01:34):
Anything I don’t want to.
Peter Wilson (01:35):
<laugh>. Favorite thing to draw.
Leigh Chalker (01:39):
Anything battle for bustle or ring around the rosy related
Peter Wilson (01:43):
Good man and favorite drink
Leigh Chalker (01:48):
These days. An awful lot of lemon water. But I do like Bundaberg ginger beer, so lovely. Good choice. Non-alcoholic sort, but just it’s very nice and crisp and refreshing, so.
Peter Wilson (02:02):
Excellent. All right, good. Let’s get into the meat of it. We’re warmed up. We’re ready.
Leigh Chalker (02:05):
Peter Wilson (02:08):
So would you say you’ve always been a creative person? Have you always been creating something from childhood or,
Leigh Chalker (02:15):
I absolutely have mate. My mother of keeps a shoebox of little comic books and short stories that I used to create as a kid in school about, I suppose a mini comic size with cardboard covers and I used to laminate them. Oh wow. My first character was created and he was called Stinger of the Robot which was this weird red and blue robot. Cool. That used to pull cats outta trees and stuff and yeah, I used to just give them to mum and she kept the whole shoebox of them. So there’s heaps, there’s quite a few. Always drawn. I’m an only child so I’ve got a lot of time to myself to entertain myself and throughout life, drawing I guess has been drawing in particular has been with me through everything but creative. Yes, I love painting. Lots of music When I was younger anything I could get my hands on really Video, film.
Peter Wilson (03:20):
Leigh Chalker (03:21):
Yeah, just anything. So anything at all, man.
Peter Wilson (03:25):
Do you remember the first time you went from passively creating just for fun to really working hard on a project?
Leigh Chalker (03:35):
Yep. From I didn’t. I do man. Yeah. Many years ago I used to sit when I was younger, probably 70 or 20. I used to sit down and I used to just draw books of characters, what would this character look like? Little mini characters and I’ve got them and I was always dabbling in things like characters and short stories and didn’t know what I was doing at the time really. But you muck around, you think of things. I guess the first one man that I really did is still what I’m doing now, battle for Bustle. That’s been going for an awfully long time man. That was the one where I decided to sit down and really have a good shot at telling a story. I felt like at that point I was very certain about the genre that I wanted in terms of science fiction and that. Cuz I’m a huge science fiction fan. I do love fantasy but awesome. Yeah, I mean I’ve picked away at that. I was happy with the characters. The storyline at the time was very personal to me. Opened up a few things that down the track, you know, could add things to it that have your outlook may have changed on life. So I guess that’s still the main project I’m working on, but
Peter Wilson (04:57):
That’s cool. That’s cool. Have you got any formal training at all or you completely self-taught?
Leigh Chalker (05:04):
I am completely 100% apart from obviously school art classes, but I don’t have certificates or anything. We had a really cool art teacher.
My family were good, half sporty, half art, so whatever you chose, if you were good at one or the other, it didn’t matter to them just as long as you were happy and pursued it. So art or art to a certain point caught me and trying to think man. Yeah, no, just very lucky like that. In terms of art the grade 12 teacher in art was awesome. Very encouraging about trying anything. Painting, spray, painting, plaster, clay molds screen printing, all that. Even though that was part of the curriculum, she didn’t like box hold you into anything. She was just whatever you wanna do. So let it out. Then I guess just dabbled in everything mate painted. I love painting. Pencils was always there for me. I used to sit back and mimic covers of oh anything I’d get my hands on them, particularly like transformers at the time. GI Joe X-Men obviously love Wolverine and Daredevil. Then I got into 2000 ad started drawing all those characters just always drawn men every chance I get. So just developed over time.
Peter Wilson (06:54):
I think when you’re sort of in the early stages of creating, you do need that freedom and the encouragement to do a bit of everything and you really sort of gotta have the passion first. And then I think later on is when you find I guess the discipline and the methodology to carve out a bit more. But if you never lose that initial passion, I think you’re set.
Leigh Chalker (07:18):
I would agree mate. For me, I like to a point where it was a thing in the family that if I got cranky and stuff like that, mum would, I guess, and people that have known me since think back and go, jeez, he hasn’t drawn in a few days or done something. You know what I mean? Give that go do draw. Yeah and I’m happy. So I guess it’s worked in a meditation. It’s like I suppose to get better at something. I mean you never stop getting better. I certainly hope just next page is better than the last, but I guess I treat it these days like a sport man. If you playing cricket, get better at that by practice. So I sort of put it into a training block now where I’ve got days where I hook in. So I guess I’ve got a bit more disciplined as I’ve got older too, to a certain extent with Sure. The enjoyment in it. So
Peter Wilson (08:22):
I can definitely look, if you look at your work, it’s very intense. There is a lot of heavy themes definitely violence, <laugh> the complete opposite of you. Well I’m not surprised that you’re able to get your demons out on the page when you’re creating.
Leigh Chalker (08:43):
Yeah. Oh mate, I know. I guess I’m lucky. I’m lucky I have it. Life hasn’t been had, its ups and downs as all lives do, man. No complaints. But I like to put it into my artwork. So things that bothered me, I guess I have the opportunity to put onto paper. So each page I’m, when I’m finished I date. So when I occasionally go through them I can see the dates and it’s almost like a diary to me. It takes me back to certain points in my life where I guess some of the artwork was a lot darker and some of it was a lot lighter and poppier. But the weird part is, Pete, I, I’ll tell you secret if you really wanna know, when I started Battle for Bustle I, man, I did it a lot. Hey I learned a lot on it. I was like self-taught cuz the battle for Bustle comics that people read now I think from memory are the third volume of the comic I’ve done.
So there’s actually two other versions of Battle for Bustle sit up, which before sitting over there, but because I was leaving myself behind and just I guess I had was working life, that sort of stuff. I fell away from drawing for a bit, but I kept drawing and yeah, I guess I got a better as I went along. But yeah, the reason why I got so detailed, man, to be honest with you, is to hide mistakes initially in the early days. And that’s the truth I’ve always joked, but I’m truthful with in the first couple of issues, there’s heaps of smoke and there’s some word bubbles that are positioned <laugh> in places on the page to cover a rather large error that there is nothing I could do to change it. So have word bubble that’ll do. So
Peter Wilson (11:00):
My design teachers used to say a style is nothing but a series of mistakes you’ve made.
Leigh Chalker (11:05):
Yeah, yeah. Well Manny, enjoyment bud. So that’s it. It.
Peter Wilson (11:13):
So if you had to, how would you define a creative person and would you say, are there any requirements to be creative or is it a free for all?
Leigh Chalker (11:26):
I don’t know if there’s necessary for me, some of ’em as creative as just someone that enjoys doesn’t even have to be a medium man. Just I can be anything from making crafts to, for me to just people that are calms them, it relaxes and it makes them happy Men, I’m not one for stickland with rules, with artwork. Cause by God I change every week I’ve got a different sort of routine where I sit for me, no I’m definitely not for, you know, you should do it this way, you should do it that I think you should march to your own drum. Find your voice your voice being your imprint on the page or your music or whatever it is you’re doing. And always try and get better. That’s what I’m trying to do is just get better man happiness. It’s all about that dude. No competition in creativity, I don’t think. It’s just individual voice man.
Peter Wilson (12:35):
Extremely zen approach. I like that. So when you’re starting a comic, where do you start writing? Do you start doodling just a, or do you have a series of weird thoughts or?
Leigh Chalker (12:51):
I’ve got a constant series of weird thoughts, Peter man all over the shop really I guess from sometimes character design, sometimes writing. I tend to write things in paragraphs and that attempt to write scripts that end up being not very good. And I have my battle for bustle co-writer, editor, letterer Tam. Luckily enough reads over. Yeah, we talk about it, we improve things. So I guess at the same time as the artwork is processing, the script is processing. But I have been known to, for example, issue five was going to be 28 pages and then with Tam being really busy with her work and career and stuff I had some time on my hands and suddenly 28 pages turned into 40. So you go, I was retrofitting as I went along with ideas that sort of new ideas, if you know what I mean, into old ideas. So ever evolv ever evolving man.
Peter Wilson (14:08):
So this is something I’ve been dying to ask you because I’m very jealous of the space you’ve got. So tell us about your workspace where you create. You got the granny flat there?
Leigh Chalker (14:18):
I do, I do. It’s a mess at the moment, but hang on, I’ll see if this will work here. Bear with me. <laugh>. Righto. So you can see, yep, let’s bring that up. Yeah, here you go. So there’s just shelves full of artwork things that I’m working on and doing paintings they’re all, I take a photocopy of most of the previous issue that I’m doing just so that it was all so I could look back on stuff as I was drawing instead of flicking through comics. It was easier and then it just became a crazy wall. Fish tanks bookshelves, comic books, there’s a whole heap of comic books and toys and it’s door. So <laugh> my space.
Peter Wilson (15:16):
I love how much of your stuff you keep in archive so you can look back on That’s something I’m terrible at. If I hated I make a point to get rid of it or if it’s too cold rid
Leigh Chalker (15:26):
But well I sort of got punted from the house mate, I was just gathering too much stuff and there were pages everywhere and cats would jump up on a chair and what they’re gone <laugh> slide off on a surfboard and stuff and just decided that the granny plat flat was the spot and just spent more time in here. And I guess you just find more of yourself in your space, don’t you? So at the moment, yeah I feel really lucky mate. I’m not just crammed into a little coffee table and stuff. I’ve got my place to be myself and relax. So therefore I feel like that’s a better environment for me to do artwork and stuff. And then when I walk out those doors man, I’m sort of back into real life, back into home life and work and talking to the neighbors and mowing yards and stuff. But when I’m in here
Peter Wilson (16:26):
It’s great to have a set space I think mentally helps you just transition a little bit better.
Leigh Chalker (16:32):
Oh yeah, 100%. It’s also good too cuz all my favorite stuff’s down here as well because I can’t draw in fits and starts. I’m not one of those people that can just sit down and draw for two minutes on their next comic page and off they go. So I’ve, I guess over time I’ve built my life a little bit Regimentally man my work days are blocked so during that period it’s work and family and chilling out, reading comics, talking, living life a bit and then also, and no drawing sort of builds a fire in me cuz I burned myself out by Tuesdays and then on the Saturday morning I’m like oh come on man, get this stuff out here and like, oh dude, I don’t know, I’ve been known to stay down here from sun up to sun down man 10 pops out and see if I’m still alive for here. I dunno you wander, grab a book off the shelf, have a little read, talk to your fish or my dogs are always down here so.
Peter Wilson (17:44):
Well we’ve touched on it already. We’ve looked at where, how about who, if you co-write with the lovely Tam, you and your dad pointed the comics. I know that much. Would you say that other people are extremely instrumental in Be, they seem to be a big part of your process?
Leigh Chalker (18:07):
Well I chose Look family really all of the characters in Battle for Bustle are based on family members, uncles, aunts, cousins, that sort of thing. Cuz I always thought it was right about something about so I knew about them <laugh> where I liked them or didn’t like I had the opportunity to and here they are and now they’ve gotta spear through them or something. So <laugh> instrumental like that obviously heavily dedicated to my dad and true in a strange way. It’s evolved into something about me now. And what I’ve realized is with look a lot of things man, just honestly Pete have being very lucky to have Tam who makes sure I’m pushing my mom is super supportive the people in the community. Just having the opportunity to talk to people has, I feel made me a better artist and stuff like that. And being able to work with people just the whole series of environments really Pete that I guess had just come together over the last couple of years to put me in a granny flat where I’m just banging out my stuff Matt. So that’s circumstances. Anything Matt? I just big melting rolled into one.
Peter Wilson (19:49):
So on the opposite side, what’s, what hinders you the most? What’s the biggest block you have when it comes to creating?
Leigh Chalker (20:01):
Well for a long time definitely the old imposter syndrome being oh caught up in everyday things, man, like life John
Peter Wilson (20:15):
Leigh Chalker (20:18):
I get never stopping but realizing the time it took. So I guess just because I was so busy I never got the time but I still plugged away at it. Had goals and aspirations of it, never did anything, laziness, fear. And then probably when I was 41 I did my back so I was pretty much stuck at home for nine months going through recoveries and stuff. Not plastered up or anything but you know, can’t do much when you know got in injured back. I was in the change of, at that stage I couldn’t do what I was doing at the time, fluctuating in ideas and then Tam and I one day were talking, she said Why don’t you get this comic book and do it?
You’ve been working on it so long. So just did it. Got it together. Met Gary DK through a random Sunday morning message. Two weeks later there was a box of comics turn up and I remember Timm and I sitting there going like holy hell, didn’t that turn around really quickly all that time into just that real quick space and then just hooked into it. I would say my enthusiasm is definitely picked up to then with hot hindrances to be the biggest one every day mate is probably just sitting down. And I don’t mean that from having a bad back, I mean that to just walking around in circles around that page you gotta attack staring at it and stuff. Sometimes for me I’ve just nah man, boom, boom, gotta do it. And I just pick up the pen and just start doodling and have a cigarette and just momentum throughout the day. And again, circumstances for me, I try not to let stuff stop me from drawing. I don’t know the fire burns mate, that’s about all I can tell you. So every opportunity yeah but it awesome. I just want to get better at it mate. So motivated to do so.
Peter Wilson (22:41):
That’s the way man, I think that’s the sign of a true artist.
Leigh Chalker (22:44):
Peter Wilson (22:45):
Someone you could push on and want to do better and fight for the father.
Leigh Chalker (22:52):
No, I think with artsy talk, I think with art, you know can see that in over a period of time. Not while you’re living, looking out that window. But as you know, over the course of the five or six years, depending on how much you do what you do, you can see you were painting good, you were painting bright, happy period in life when you go into it. And then sometimes there’s images that are a bit dower and yeah art’s just man look I love it Any, I’m all for any sort of creativity man. I just think whatever you gotta do, I mean some people go and sit under I, there’s a dude when we go on walks, he sits on this just a seat mate with his little drawer pad. It’s only a notepad but he’s always sitting there doodling out at the birds and that sort of stuff and it’s like me. Okay
Peter Wilson (23:55):
Cause he has to do it. That’s it. That’s awesome. So are there any set tools you like to use? Do you have a specific brand or a type that you gravitate towards each time?
Leigh Chalker (24:09):
Anything that’s cheap mate? <laugh>
Peter Wilson (24:13):
Your job done.
Leigh Chalker (24:15):
Yeah because I gray wash, I’ve gotta be careful with pens because if you use very cheap pens and depending on the paper they can bleed and do things you don’t want them to. So over time I’m particular about them. I do I guess at the moment I’m using a pin like varying sizes of that borrow there.
Peter Wilson (24:47):
Always a good staple.
Leigh Chalker (24:49):
I love white out. White out is such, it is such an enhancing beautiful handy thing when you’re drawing an inking it’s, don’t ever think it’s just used for mistakes cuz you can do some good stuff with white out. So that’s a handy weapon mate. I use paint to and brushes to fill in all the great gaps. I have had an ongoing joke with Dave Dye for many years about how some of my pages have a slight coffee CIA looked to them. So I do have to be honest and say I have occasionally dropped a cigarette butt into the brush water to <laugh> get that water color and added nicotine here and there. I man, I was using a bottle top the other day. I’ve got lemon thorns, I’ve got a giant LA tree at the back and I was cutting it down the other day and I saw these massive thorns and I thought, oh I wonder if you could draw with them. So I dunno man, it just weird stuff.
Peter Wilson (25:58):
Leigh Chalker (25:59):
I’ve used potatoes, man, the color things in cause I didn’t have a paintbrush at the time. I’ve chopped the potato in half, dipped that sucker in black paint and just went at it work
Peter Wilson (26:12):
I never would’ve thought about. That’s incredible. I love that
Leigh Chalker (26:15):
Peter Wilson (26:17):
Fantastic. So when you’re getting ready for a big sash, big creating sash, do you have any rituals or superstitions you like to do beforehand? For example, I have to wipe down my desk. I don’t know why, but if I’m not going to be sitting here for a while, get out the cleaning wipes, wipe it down so I’ve got a shiny desk, then I’m ready. That gets me into the zone. Do you have anything similar?
Leigh Chalker (26:49):
Oh mate yeah I do try as best as I can to keep to my times. If there’s things, appointments and stuff like that this is an outside enabling me to get to this point of the drawing desk. I try and block everything so that my time is really worthwhile. If I’ve got five or six hours, I’ll hook it, man, do the best I can. Don’t waste time muck around. I don’t have any superstitions. I do get annoyed when I pick up the wrong pen. And what I mean by that is not the different nib widths cuz I know what I’m doing with that. But I have a tendency of losing the pen that I’m using because I push really hard on nib. So the nib gets a particular angle on it that I like to draw with. It sits well in my hand and because I have the same size pens because I’ve just got boxes of ’em and they sit on the tables and everything, I flick it over there, go to another ink width, go back to get that say 0.3 pen, but it’s lost in the other ten three point pens. So that annoys me. So I don’t know, I’ve been using the same brushes forever.
There’s no real rituals mate. Like I just said before, I think the best thing to do is just to sit down, just get started. It’s time to rock and roll, so awesome.
Peter Wilson (28:20):
Just that little bit of structure. That’s cool. So over the years, what’s the best criticism or bit of encouragement you’ve gotten one that’s really stuck with you?
Leigh Chalker (28:34):
Oh, Pete. Heaps man. Honestly over the years the best, I mean support from people makes you feel like you’re getting better and stuff. So it’s an, I guess an worded thing to a certain extent. It makes you feel good in your art when you’re in a community and talking to people and that you participate so you feel automatically like you’re want to get better. But man, just, I reckon in hindsight probably yeah, old hero of mine just said, find your place, know what you gotta do. There’s lots of layers in artwork I guess. And we were talking about comics at the time, but just find what you want to do and just have a crack at it. Be yourself, represent yourself well and just do it, man. So with that, I took on board of I guess not just trying to represent myself when I do these shows as good as I can, but also in my artwork. I don’t like to give stuff that isn’t at a pleasing level to me where I am now. That’s why issue five took so long because I used to be a good drinker. So I used to do a lot of artwork while I was drinking and issue five is split between soberly and drinking Lee and Soberly. <laugh>
Got very annoyed with Lee of a year or two ago and had to spend a lot of time cleaning things up and fixing things up. Yeah, probably the only thing I would say to people that’s from, that’s my advice that I’ve learned myself is don’t drink and draw despite,
Peter Wilson (30:36):
Don’t drink and draw. Add to the comment slogans we’ve got around here. A good one. Is there a particular comic or any, could be anything, a book, something that inspires you that you can always go back to feel inspired or is there a creator whose body of work makes you feel pumped up?
Leigh Chalker (30:58):
100%. The Crow. Yeah.
Peter Wilson (31:02):
Leigh Chalker (31:02):
Yeah, that comic book number one for me not by a mile. There’s been others that I’ve read that have stuck to me too, but that one probably the longest. Yeah, I always find myself coming back to that man. Yes. I guess in my, I don’t know, I haven’t thought about it for a long time. I love Marvel. Dudes like John Jrs back in the eighties went through the McFarland phase as a kid. You see all that sort of stuff I guess. I don’t know. I like there’s dudes that do painting in penciling. One of them’s called Iva Hilo he was a war sketcher and he used to paint portraits for the Prime Minister and St of Prime Ministers in Australia and things. And I like those sorts of divergences in artwork. My favorite painter is Jackson Pollock. I love John Movig, an old Brisbane painter from the sixties and seventies. Did great stuff. Awesome. I don’t know man, I like films, they do the same thing to me. Music, things like that. Anywhere you get a of info, man talking to people gives me creative fuel too. So
Peter Wilson (32:29):
Speaking of tune into Chinwag every Tuesday,
Leigh Chalker (32:33):
Peter Wilson (32:38):
Okay this might be the last one actually. Is there a specific setting where you get most of your ideas? Some people get ’em in the shower as they’re falling asleep. That’s me. You find there’s one particular spot where inspiration hits?
Leigh Chalker (32:58):
No, there’s not one particular spot cuz I can get it anywhere. Yeah, just daydreaming and thinking anywhere. I’ve been lucky enough that there’s, when you’re around other creatives, you know get to talk to people about some of those ideas too and they spring off into other things. So from communicating via our internet, you can have those ideas and germinate just funny things that happen that you, I don’t, man, it just comes to me generally too while I’m drawing, I’m doing a lot of thinking about other stuff while I’m drawing and my brain can wander off in tangents of things that have happened that day and like anyone else. So those tangents can lead off to <laugh> story or <laugh> ideas that I saw the weirdly enough battle for Bustles been going for so long now that a lot of those thoughts I have about things that bother me in the world now, which didn’t then have found their way into the comic book. So it can happen at any given moment, man.
Peter Wilson (34:15):
That’s great. When you are absentmindedly doodling, if you do that, when you’re on the phone, when you’re chatting or whatever, is there one thing you find yourself drawing more than others? Some people do. Smiley faces. The cool nineties s
Leigh Chalker (34:34):
I do a weird three quarter side on I guess Threequarter profile type of a face. The face has always, I guess been the same. It just I do it in different styles, man. Some are real sketchy in detail. Some just look like quick circles I guess. Again, it depends on the length of the conversation. <laugh>
Peter Wilson (35:02):
Leigh Chalker (35:03):
Yeah, no anything I can really, man but I don’t know. I really do find myself more than anything not drawing anything other than battle for Bustle and Rosie these days, mate. Unless the odd other drawing pops up here and there.
Peter Wilson (35:22):
Well that’s good cause we wanna see more. So
Leigh Chalker (35:26):
Yes, keep that going. Yeah, cool man. Try
Peter Wilson (35:30):
<laugh>. That’s awesome. Well that’s all for my questions. Thank you so much. That’s been great.
Leigh Chalker (35:35):
Peter Wilson (35:36):
Would you call coming up that you’d like to plug?
Leigh Chalker (35:40):
Oh yeah. Steadily and very busily getting through Battle for Bust issue five, which should be out. Fantastic. Well, sooner rather than later
Peter Wilson (35:51):
You can eye on that cover. It’s amazing by the way guys.
Leigh Chalker (35:54):
Oh man it was tricky to get yeah, that was a funny granny Flat night down here with two cigarettes and then two mobile phones getting that <laugh>. But hey, there’s Sizzle and Doug going on sale tomorrow at 3:30 PM Queensland time to support coms. Exciting in that along with 30 odd other creators from all over Australia. Yep, myself included. Yeah. Yep. There’s present Noa issue four in the next month or so. Coming out with Marathon Bo, a book by Rob Lyle, myself, Ryan Valer and Ben Sullivan. Call Ring around the Rosie. He will be coming out in the near future and Tuesday. Chinwag every Tuesday night. Didn’t catch me. Yarn on away there like creatives like guy man. So yeah, just keeping busy and steady mate. Not got a nice stream. Nice easy flow. So not too stressed, just chugging away. But
Peter Wilson (37:09):
<laugh> sizzle, anything you wanna promote Comics Store?
Shane Syddall (37:13):
No, I was just going to show off Battle Bus or four. Cause I love this cover.
Peter Wilson (37:18):
Yes, that’s her favorite of mine too. Love that character in general. Yeah.
Leigh Chalker (37:21):
Yeah. Hibiki Gecko. Yes. I enjoy drawing. Yeah, me
Shane Syddall (37:25):
Too. And more of her there.
Leigh Chalker (37:29):
Yeah, that’s a page upcoming in issue five, so.
Shane Syddall (37:32):
Oh, nice preview.
Leigh Chalker (37:34):
Yeah. Yeah, a random one. I won’t give anyone any hints as to where that fits into the scheme of things. You’ll just have to buy shoe five to find out. Nice.
Shane Syddall (37:45):
Peter Wilson (37:47):
Okay, fantastic. Well that’s all from me. Thank you everyone for watching. Please tune in again next week. Hit me with your comments or read ’em out on next week’s show. Tell me where I can improve. Tell me what I did really well. Probably a lot. What I’m hoping to do Sunday Spotlight is end on a quote. So this is from my personal hero prayer of Calvin and Hobbs and that is never quite as scary as when you’ve got a best friend with you. All right, that’s all from me.
Shane Syddall (38:18):
Peter Wilson (38:18):
Thank you everyone. Good luck.
Leigh Chalker (38:20):
Thank you. Thank
Shane Syddall (38:21):
You very much everyone.
Leigh Chalker (38:22):
Nightly. Take care.
Shane Syddall (38:24):
Voice Over (38:34):
This show is sponsored by the comics shop.