Showing posts with label Ant Sang. Show all posts
Showing posts with label Ant Sang. Show all posts

Thursday, May 29, 2014

Ant Sang Interview


Ant Sang's Dharma Punks along with Adam Jamieson's Blink was one of the few New Zealand comics I was aware of in my teens that was available nationwide through bookshops and newsagents via Australasian distributors Gordon and Gotch. I had picked up the first issues of Ant's first series Filth on a rare trip to Auckland and finding Dharma Punks in a local book shop was impressive to see, for the progression in Ant's work and the fact it was now available in provincial New Zealand where access to comics and especially local ones was limited.

New publishing venture Earth's End have run a Dharma Punks kickstarter this month and successfully funded a collection of the eight part series within days. Three stretch goals have also been achieved with expanded back matter scheduled for inclusion upon reaching a $15,000 target.

Backers can expect an A5, 400 page collection with embossed cover, UV spot and french flaps with all eight full colour covers of the original series included in the book.

Please consider supporting the Collected Dharma Punks on Kickstarter.

The Dharma Punks synopsis:

"It's Auckland, New Zealand, 1994. A group of anarchist punks have hatched a plan to sabotage the opening of a multinational-fast food restaurant by blowing it sky-high on opening day.

Chopstick has been given the unenviable task of setting the bomb in the restaurant the night before the launch, but when he is separated from his accomplice, the night takes the first of many unexpected turns.
As the story unfolds, it becomes clear there is more at stake than was first realised, and the outcome of the night's events will change all of their lives in ways they could never have imagined."

The following interview with Ant Sang is excerpted from a longer piece covering Ant's career in The New Zealand and Australian Comics Interview Zine #2: Ant Sang available from the Pikitia Store in June.

What were the first comics you read?
I've been through heaps of phases of comic reading. The earliest comics I remember reading were cheap funnies. Richie Rich, Casper, Uncle Scrooge, that kind of stuff. When I was around six years old one of my favourites was Burne Hogarth's Tarzan of the Apes. I've still got it sitting on my bookshelf to this day.

What got you interested in making your own comics?
I tinkered with combining words and pictures when I was a kid, but I wasn't consciously trying to make comics at that time. It wasn't until my early twenties that I had the thought of actually making comics. I was studying graphic design, and going through a big existential crisis after a classmate died. A friend who was also into comics lent me a bunch of 'alternative comics' - Dan Clowes, Chester Brown, Julie Doucet - and it was a real revelation. For the first time I realised that comics could be raw, crude, angry and could talk frankly about a lot of issues which really connected with me. I was taken by the DIY ethic of a lot of the 'alternative comics' and figured that 'yeah, anyone can do comics', if they had something to say. It was soon afterwards that I started making my first mini-comic, Filth, to explore the thoughts going on in my head.

I remember a boom in self published comics in Auckland around the time Filth came out, I recall the work of Andy Conlan, Karl Wills, Adam Jamieson, and Willi Saunders amongst others, were you part of a comics community then?
Yeah the mid-nineties was a really exciting time in the Auckland comic scene. So many great comics were being made then, and there was a real camadarie amongst the Auckland cartoonists. We met for regular comic meetings and saw each other socially. Cornelius Stone used to have big parties at his flat in Mt Eden and he lived with Barry and Willi at various times. It was also a good time because it felt, not with just comics, but with music and film too, that there was some kind of cultural revolution in the air. 
Did you plan to have newsstand/bookshop distribution for Dharma Punks before starting the series? Did you approach any publishers with the work?
When I started working on The Dharma Punks, it was my first attempt at a long form story, and I didn't want it to be just a continuation of Filth. I felt it terms of story and production that I had to do something different. I had to up the ante I guess.

I had been to a heap of conventions by this time, hawking mini-comics at the NZ comics tables to a largely disinterested crowd. Over that time I had the chance to think about the mini-comic scene and came to a few conclusions. One was that a lot of potential readers didn't give mini-comics a chance because they just looked too weird. Too scratchy, too DIY, too lo-fi. I figured people were scared off them. And secondly, people are more likely to pick up comics which they recognise on some level. So my plan with The Dharma Punks was to try to package it differently and to promote the hell out of it, so that people would know about it. This wasn't the done thing at the time. I remember when I talked to another cartoonist mate about the idea he looked at me and said ' what are you going to do, walk around with a sandwich board?' So anyway, I found the cheapest printer I could find, and got the covers printed in colour, on a thicker stock. And I managed to get pretty good coverage on student radio and tv and magazine interviews. It seemed like a real media blitz, for a New Zealand comic anyway.

I can't remember when I thought newstand/bookshop distribution would be a good idea. It certainly wasn't the plan from the start. Probably not til quite close to the first issue being released. In the end most copies were still sold from comic shops, but having the comics on display at the newsstands/bookshops really helped with promotion and being visible.

I'm pretty sure I approached a couple of overseas publishers, probably some of the better known alternative publishers, but I don't think I heard back from them...

How long was the gestation process of Dharma Punks before the first issue came out? How far into the series were you when it launched?
The gestation period of Dharma Punks will have been about four years. When I finished Filth in 1997 I wanted to work on a longform story, but I had to brush up on my writing as I hadn't ever done a comic of substantial length. So for those four years I read heaps of screenwriting books, drew a number of aborted attempts of Dharma Punks, and tried to figure out what the storyline should be.

Did you receive much feedback from Dharma Punks original publication?
The immediate reaction to Dharma Punks was great. The comic shops here in New Zealand were super supportive, and there seemed to be quite a buzz about the comic. Even folk who don't normally read comics were apparently heading into the specialty comic shops and asking for Dharma Punks.

Did you anticipate the response to the Dharma Punks Kickstarter? What were your expectations?
Well, y'know we were hopeful of meeting our goal, but as the launch date approached we all got increasingly nervous about the response to our campaign. We'd been planning the campaign for close to a year, so a lot of planning and discussion had gone into it. We felt there were a lot of people who wanted this to happen, but you never know how it will go until you actually go ahead and do it for real. The first few days were crazy. I couldn't help constantly checking in to see the latest running total. Fortunately the Dharma Punks fans came through and we reached our initial goal within five days.

Thursday, May 15, 2014

Hamilton Zinefest 2014

Pikitia Press will be tabling at the Hamilton Zinefest this Saturday. I'll be giving a talk at 1:30pm on the History of New Zealand Comics and micro publishing with Pikitia Press. Ant Sang will be talking at 11:30 about his forthcoming collection from Earth's End of his series The Dharma Punks.

I havn't written about Ant's Kickstarter for Dharma Punks as I have been busy as all heck but it's running for the course of May and well worth supporting.

Dharma Punks on Kickstarter.

The day's line up of workshops and talks:
Workshops and Talks are going to happen during the day at zinefest… here’s the line up :

10:30am – Kylie Buck / Tessa Stubbing (NZ Zine Review)
Zine binding with Kylie & Tessa [Max: 10 participants]
From the simple staple, to hand-sewing and more - this is a hands on workshop that covers the basics, and introduces some alternative techniques to zine binding. Materials supplied.

11:30am – Ant Sang /
Talks about the revival of Dharma Punks
Ant Sang has been described as “part of a new generation of sequential artists who challenge the tired misconception that comics are juvenile or lacking in literary merit.” He produced the surprisingly popular Filth mincomix in the mid-90′s, and kicked off the new millenium with his most ambitious project yet – a 384 page, serialised comic called The Dharma Punks. Ant will talk about the journey his comic series The Dharma Punks has taken from comic book to publication as a graphic novel via Kickstarter.

12:30pm – Ash Spittal /
Personal narratives within a Queer context
Ash started making zines a year ago after drawing lots of pictures of transgender men and not knowing what to do with them. He compiled the images and distributed them to friends. The work ended up becoming a sort of study of the transmasculine community in Aotearoa. Ash will be talking about zines and comics that have inspired him to write about being a queer trans* person. He makes zines about being different and being ok with that. He also likes superhero comics a lot.

1:30pm – Matt Emery (Pikitia Press) / 
Talks about New Zealand comics and the development of Pikitia Press
Matt will be talking about the history of New Zealand comics over the last 100 years and the evolution of Pikitia Press as a publication company publishing the best in independent comics from NZ and Australia.

2:30pm – Lucy Meyle / 
Exploring new frontiers: experimental publications & zine-making [Max 10 participants]​

This talk will look at contemporary artists who disseminate their work by exploiting the social, flexible, and contingent nature of small publications. It will also discuss how we can think of zines/comics/books not as finished objects, but as testing grounds for provisional ideas, social experiments, or explorations of form. Using these concepts as starting points, the talk will then explore some practical possibilities for making experimental publications.

Sunday, July 28, 2013

Nexus Comics Issue: Ant Sang Interview 2006

In mid 2006 Nexus Magazine designer Matt Scheurich took inspiration from a recent comics issue of Vice magazine and produced a comics-centric issue of the Waikato University magazine for their 7th August 2006 edition. The full colour magazine featured cartoons from local contributors as well articles and regular columns in cartoon form. Matt interviewed a few New Zealand cartoonists including Ant Sang.

Ant Sang Interview by M. Schuerich.

Ant Sang made his name in New Zealand comics initially with his DIY effort Filth but more break-through was with his serial comic Dharma Punks. If you're still lost, then you might know Ant from the TV series Bro'town as he was the character designer for the denizens of Morningside. I hit him up on some questions to get the low-down on his opinions, ideas and work.

What originally got you into comic creation?

I've drawn cartoons for as long as I can remember but I didn't start producing comics until the early 1990s, when I discovered "alternative" and autobiographical comics... stuff like Dan Clowes' -Eightball" and Chester Brown's "Yummy Fur" and "Ed the Happy Clown".

How do you think New Zealand comics are being perceived by New Zealanders themselves?

I don't think most New Zealanders are even aware of New Zealand comics!

Do you prefer working on comics with other people or by yourself'?

Comics are a very personal form of self-expression for me, so I really like to work by myself. Doing comics isn't really a fun process, it's just something I feel compelled to do.

How viable do you think comic creation and illustration is as a job in New Zealand?

Doing comics as a viable career in NZ is very difficult.. almost an impossibiity really! Doing illustration work is pretty difficult too, but not nearly as hard as basing earnings around comics. With illustration there are a lot more opportunitys and outlets for work such as advertising, children's books, working with design studios etc etc.

What are your impressions of the current New Zealand comic scene? It's a really diverse yet tiny scene. 

There is a whole spectrum of artists working in different genres and towards different goals. Some are seriously trying to make a living from comics while there are a lot of hobbyists who do it for fun. Despite this, most cartoonists seem to know each other or at least know about each other and what we're all up to.

What kind of elements and themes do you try to include in your own creations?
Whatever interests me at the time. Big themes about life, death and why were here seem to crop up a hell of a lot in my work. This isn't a conscious theme I've chosen to explore.., its just that I'm fascinated by this stuff so it winds up in my work.
What do you like appreciating the most out of yours or someone else's comics?

The comics I enjoy the most are ones where the writing and art complement each other seamlessly, neither overwhelming the other. Another thing that makes a good read is a comic which has emotional power and which gives me some heightened sense of being alive.., and these are qualities that I strive for in the comics I create.

What do you think the future has in store for New Zealand comics? 

I suspect NZ comics will continue to exist beneath the radar of mainstream New Zealand. despite our best efforts...

What comics have you been reading lately?

 "Louis Riel" by Chester Brown. "100%" by Paul Pope. -It's a Good Life If You Don't Weaken" by Seth and -Shaolin Cowboy- by Geoff Darrow.

Your 'Filth series is essentially the beginnings of `Dharma Punks'. How did 'Filth' start?
I was inspired by the DIY ethic of alternative and autobiographical comics and thought 'yeah, I can do that!' and just started writing. It was a particularly confusing and angst-ridden period of my life and "Filth" was a natural expression of that.

What kind of themes were you trying to convey with 'Dharma Punks'?

"Dharma Punks" was my attempt at making sense of the "Filth" era of my life. It was also time to move on from "Filth- and -Dharma Punks" was a way of closing that particular chapter.

On your website you mention that you are working on a 'Dharma Punks' script for film. How is that progressing?

Very, very slowly. Though in the last few months I've made a few breakthroughs. I've set myself a deadline.., by the end of this year I will have the first draft finished, fingers crossed.

Doing the character design for the cartoon show "Bro'town" must have been a fun job. How exactly did you get it? 

The show's producer, Elizabeth Mitchell. tracked me down when she heard about "Dharma Punks". She asked me to try out designing some rough ideas of the main characters and luckily she and the Naked Samoans liked what they saw. And yes. its been great working on the show!

How did you come about the design of the characters for "Bro'town"? Did you base them on well-known New Zealand personalities?

Yeah, four of the five main characters are based on the four Naked Samoans, who are the writers and performers of bro'Town... so I had to design teenage, cartoon versions of them and from there had to design the rest of the characters of Morningside.

With your illustration work in publications like Pavement and The Fix, do you generally have free creative will in deciding the final outcome of the works you do for them?

The Fix has been really good about any illustration stuff. Richard either likes it or not and so either accepts it or not I've only done a few illustrations/ comics for Pavement and I've had no problems with them either. They're so supportive of local comics, it's great
'Dharma Punks seems to be one of the very few comic serials you've had completed and printed.

Are you working on anymore comics or are you concentrating more on different avenues?
I'm currently working fulltime on series 3 of bro'Town. Apart from that I'm working on the Dharma Punks script and yeah, I'm also working on my next comic project which will involve kungfu and Shaolin monks and plenty more...

Wednesday, May 1, 2013

Mini Paper Trail

Sarah Laing on David Sedaris.

Patrick Alexander performs miracles.

New Zealand had a New Zealand Tea Council in the 1960's check out some of their groovy campaigns here.

Tui and New Zealand Exporter's Annuals of the early twentieth century at EsotericNZ.

Ant Sang and Dylan Horrocks are presenting a graphic novels panel at Golden Yarns Children Writers and Illustrators Hui 2013.

Gary Chaloner reviews two comics by Frank Candiloro.

Design and communications group, The Wellington Media Collective are the subject of a recent book published by Victoria University Press. The collective operated from 1978 to 1998 and was committed to "working with, not for" the clients whose causes it espoused. We Will Work With You: Wellington Media Collective 1978-1998, edited by Mark Derby, Jenny Rouse and Ian Wedde is available from the VUP website.

Ian Wedde writes about the collective here. Diana Dekker writes about We Will Work With You here.

  Founding member of the collective Dave Kent's memorable anti-apartheid poster.

Another in depth look at a New Zealand product line from Darien Zam at Long White Kid.

Emmett O'Cuana reviews Scarlette Baccini's Jesus Reloadeth'd.

Hook Ups!


Thursday, January 24, 2013

Faction Comics TV Spot

A brief feature from TV 3 news on the recent New Zealand comics anthology Faction Comics featuring Faction people Amie Maxwell, Damon Keen and Artists Ralphi and Ant Sang.

Order print copies and free digital version of the first Faction Comics anthology here.

Wednesday, December 5, 2012

2012 in Review: Ant Sang

Ant Sang
What have been your personal cartooning/comics highlights of 2012?
Having Shaolin Burning selected as a finalist (Picture Book category) at the NZ Post Children’s Book awards was great. It won an Honour Award in the end, and it was a fantastic night spent with so many talented authors and illustrators at the event. Another highlight was seeing Shaolin Burning artwork up on the big screens at the Frankfurt Book Fair’s NZ Pavillion (though I wasn’t there in person).

Who are some of the comics creators that you've discovered and enjoyed for the first time in 2012?
I’m loving the artwork of James Harren and Becky Cloonan. Becky’s artwork has a beautiful fluidity to it, and James’ work packs a mighty punch… the guy’s really on fire at the moment.
What is something non-comics that you have enjoyed in 2012? 
I loved Robert Harris’ novel Lustrum. A great retelling of a politically tumultuous, five year period during the dying days of the Roman Republic (after 63BC). Focusing on Cicero and told through the eyes of his slave, Tiro, the book is an amazing look at the politics of the time. Had me googling the history of Rome for days afterwards. TV-wise, loved watching all of The Wire (crime series based in Baltimore). And currently digging Homeland (post 9/11 terrorist schnanigans). 
Have you implemented any significant changes to your working methods this year? 
My working method hasn’t changed drastically this year. I’m still pretty old school and love working with brush and ink. I reckon my Photoshop colouring has improved this year though. I’ve been experimenting with more tones and depth and have been enjoying the results so far. 
What are you looking forward to in 2013? 
Planning to make comics and get into some filmmaking.

Tuesday, December 4, 2012

2012 in Review: Damon Keen

What have been your personal cartooning/comics highlights of 2012?

Helping to get New Zealand's first crowd funded comic, Faction, out into the world! 

Who are some of the comics creators that you've discovered and enjoyed for the first time in 2012?

I made some great discoveries this year, so that's a tricky one. Finally got around to reading Charles Burns - and in particular Black Hole. It's always great when the storytelling and art come together so seamlessly, and Black Hole is beautiful and disturbing. I love stories that manage to include the surreal and dreamlike, but without becoming self indulgent and nonsensical, and Black Hole pulls it off brilliantly. Loving his new stuff too - the Hive is great.

Also finally read Dharma Punks by Ant Sang! Embarrassingly late I know - but well worth the wait. I think that it may just have catapulted straight to the top of my all-time favourite NZ comics. 

What is something non-comics that you have enjoyed in 2012?

Freaking LOVED the Mars landing by the Curiosity rover in August. We watched it live on NASA TV. It's what I imagine sport fans must feel like when their team wins something. What a bloody awesome achievement, One of those rare moments it felt good to be a human being. The Higgs Boson discovery was also mind-numbingly awesome. 

Have you implemented any significant changes to your working methods this year?

It's my first year of being freelance - so I've had to do lots of boring changes - like figuring out how to do my taxes and invoicing. Blergh. More interestingly, my drawing and comic creation has gone nearly entirely digital, from sketches through to the final work - a fun experiment, but I think the results have been promising so far. I still thumbnail the story outline first in a notebook though, so not quite there yet!

What are you looking forward to in 2013?

Rocket boots. Better instant meals. Otherwise, continuing to grow Faction, I think. It's an exciting challenge. Nationally, it'd be nice to see the disgusting government we've got crash and burn, and globally, it'd be good to see some action on climate change. Anything. Anything at all. But I'm not holding my breath.

Friday, April 6, 2012

Tim Bollinger Interview Part Two of Three

 Tim Bollinger with partner Jo and standee of his character Little Eye.
Photo taken at Pacific French Language Comics Festival in New Caledonia 2008.

Were you ever interested in mainstream American comics or undergrounds? Are there any contemporary comics you appreciate?

Most mainstream American comics never interested me particularly. Although back in the day apart from in the 60's Tintin and then in the 70's Asterix, the only comics you ever saw that weren't British were American mainstream comics. And I connected more easily with American comics than British ones. I really enjoyed all the Disney comics and Hot Stuff, Casper, Ritchie Rich etc...We had a comic box at school that was brought out at lunchtime on rainy days. I also really enjoyed the little Signet and Fawcett Crest 'Peanuts' collections.

I was never into the American superhero comics particularly. Although when I was about 6 or 7, I saw the Batman movie at the pictures (just once, and long before the TV series was ever played on New Zealand television, which wasn't til the 70s sometime), and that made a huge impression on me - especially Batman and Robin sliding down the bat pole and magically emerging in costume inside the bat cave, and jumping into the bat car, the Penguin submarine, the Riddler's riddles, Catwoman ...etc..etc..

Attitude Problem #2 (1995)

But superhero comics weren't something I got into much. It may have been because my parents were of a Left wing leaning, and I realise now that the whole notion of 'Supermen' in American comics was considered fascist ideology for many on the Left back then. Same with war comics, although I saw the British War Picture Library comics around they didn't really interest me.

I guess because of my Dad's political interests and activities I was exposed to a lot of counter culture material from the late 1960s and 70s - what there was of it available in New Zealand back then. I remember Robert Crumb and Gilbert Shelton strips reprinted in radical student publications and agitation propaganda from that period. When I first read Carload of Crumb in the mid-70s, at an artists friend's house, I didn't really get it but I was already familiar with Crumb and found it impressive (and a bit scary). And yes, I'm very interested in that stuff, and was particularly pleased when it reinvented itself in the 1980s and 90s in the form of RAW, Harvey Pekar, Chester Brown, Julie Doucet etc. etc. These are still some of my favourite comics. In the 1970s I also discovered Little Nemo and Krazy Kat - two perennial favourites.

 Absolute Heroes (1989)

These days, of course, there's heaps of contemporary comics I read and enjoy, although (because so much of the economic distribution of comics internationally has been geographically, culturally and lingually defined) I'm still discovering and finally reading much older stuff from Japan, France, Italy etc etc. etc. My especial favourite author these days is Osamu Tezuka, whose body of work is so monumental that I've pretty much figured out that I will never get to read it all in my lifetime (although I'm endeavouring to keep up with it as fast as they can translate into English, and sometimes French). He's so playful and experimental, and yet so formalistic. And he knows how to tell a story. I feel the same about a whole lot of other Japanese artists. They've hardly even translated the best work from GARO, the Japanese experimental comic book that came out from the mid 1960s in Japan, and these are some of the artists I've been getting into the most lately -  people like Sanpei Shirato, Yoshiharu Tsuge and Shigeru Mizuki.

I also really like European  comic artist/writers like Enki Bilal, Hugo Pratt, Milo Manara, Moebius et al, as well as younger generation ones like Blutch, Joann Sfar, David B and Fabrice Neaud and some younger Japanese ones too like Taiyo Matsumoto who writes No. 5 and Gogo Monster. In America, I currently like Kevin Huizenga, Craig Thompson and some of Paul Pope's stuff. I guess, quite a range - a lot of it is artist-as-author though. I'm also a big Dr. Seuss fan, and other picture book artsit/writers like Edward Gorey, Tove Janson, Edward Ardizonne and Heath Robinson. My favourite British 'comic artist' is probably Arthur Bestall (Rupert).

 Noah from White Fungus magazine #9 (2008)

Have you recognised any particular time periods since you started cartooning that have been particular boom times for cartooning in New Zealand?

The boom in newspaper cartooning in New Zealand was probably before my time, but there were certainly a lot more print publications for cartoonists to get their work published back in the 1980s - which has been steadily declining ever since.

Whether cartoonists get published or not has always been dependent on favourable editorial policy, and there's a few papers that my own and others' cartoons and comic strips have found a home in over the years, including 'Tearaway Magazine', and now defunct Wellington freebies like 'City Voice' and 'The Package'. The 'New Zealand Listener' has traditionally had a pretty good comic strips policy as well, with a particular boom of great serials in the late 1980s and early 1990s.

 Doctor Tim  Bollinger's Big Book of Cartoon Games, Facts and Puzzles (2006)

The ubiquity of the photocopying by the mid-1980s promoted a couple of decades of prolific self-publishing by New Zealand comic artists, which has continued pretty much unabated to this day with huge outpourings every year at Zinefests, pop culture conventions, independent comic festivals and alternative craft shows. I'd call this a boom (although, not a very commercial one). Some mainstream publishers are starting to pick up on this, so overall the New Zealand comics scene is pretty healthy.

For a while, Dylan Horrocks and then myself were given charge of writing about comics for Pavement magazine, and during my time there I tried to get as many original New Zealand comics printed in its pages as I could - we published new stuff by Ant Sang, Karl Wills, Toby Morris, Mat Tait, Simon Morse, Barry Linton, Tim Molloy and lots more. That was early this century and was never really any money in it. That of course has gone now as well. 

 Little Eye currently serialised at online magazine Werewolf

Further to that, I guess I've seen a number of time periods come and go for comics both in New Zealand and in the world generally:

My experience of the 1980s was that comics had a different place than they do in the 21st century. The readership's got more sophisticated now, and on the whole most comics are much better and smarter. The underground and mainstream are less differentiated these days. Manga's changed a lot of things. Libraries and bookshops stock "graphic novels" sections nowadays, which they didn't do much before the turn of the century. I don't like the term 'graphic novel' though, cause most of my favourite comics are just collections of tight snappy adventure-story comics for children.

I guess I saw the "fad" for autobiographical comics come and go in the 1990s. It was an interesting discovery for many in the mainstream that comics were so well suited to telling small stories of the personal and the mundane, even though R. Crumb and Harvey Pekar (and others in Japan) had long since shown this to be the case...Unfortunately, it gave every nerdy teenager licence to draw comics about themselves, which may have been a dangerous thing (I was as guilty as anyone else)...Dream comics was another one...

Personally I'd like to see tight snappy adventure-story comics for children come back in a big way, but I think their day might have gone for good.

 Little Eye serialised at online magazine Werewolf

All images copyright 2012 Tim Bollinger

Sunday, August 28, 2011

Nexus: The Comics Issue

In mid 2006 Nexus Magazine designer Matt Scheurich took inspiration from the recent comics issue of Vice magazine and helped produce a comics centric issue of the Waikato University magazine for their 7th August 2006 edition. The full colour magazine featured cartoons from local contributors as well articles and regular columns in cartoon form. The center pages feature of the magazine was written by Scheurich with features on the New Zealand Comics scene and interviews with Ant Sang, Toby Morris and Dylan Horrocks.

Posted with kind permission of M.Scheurich