Paper Trail

The Sticky Institute in Melbourne are taking applications for stallholders at their amazing 2017 Festival of The Photocopier Zine Fair.

Instruction Manual for Lonely Mountains by Nicola Gunn and MP Fikaris available for preorder now, Launch on 16th Dec.

Kevin Patrick has posted a 1997 interview with Andrea Bresciani (1923-2006) by Giuseppe Trovato.

Gaze upon Bresciani's stunning Italian series Tony Falco, 48 issues published between December 1948 and November 1949! Bresciani on Tony Falco: "For me, it was a job. I liked drawing for money and for fun."

Comicfest 2015

I'm tapping this out on grueling Airport WiFi so please forgive the cut and pastery below.

This week I'll be involved in the second Comicfest event at the Wellington Public Library. On Friday I'll be taking part in a panel discussion with Tim Bollinger, Jonathan King and Tim Gibson. On Saturday I'll be moderating a panel on New Zealand Women's Comics with the Editors of Three Words, Rae Joyce, Sarah Laing and Indira Neville.

Samples of Noel Cook's work from 1920's- 1940's.

The Wellington Library is currently displaying an exhibition featuring the breadth of New Zealand cartoonist Noel Cook's career from his early days working post WW1 in Auckland through to his work in England in the 1960's.

All the events of Comicfest are listed below including ones that may have already happened.

Wellington City Libraries and GRAPHIC comic store are once again joining forces to celebrate international Free Comic Book Day. From workshop and panel discussions with leading cartoonists, to costume and Manga competitions, exhibitions and free comic giveaways - there's something for comic lovers of all ages!

Here’s a summary of this year’s expanded programme featuring many of New Zealand’s best cartoonists with Sarah Laing, Tim Gibson, Matt Emery, Rae Joyce, Jonathan King, Sharon Murdoch, Toby Morris, Cory Mathis, Tim Bollinger, Indira Neville and Weta’s Chris Guise attending!

ComicFest 2015 programme:

Exhibitions throughout ComicFest
- Noel Cook: New Zealand’s Comic Pioneer (1st Floor, Central library)
- The 12 Cartoonists of ComicFest 2015 (Ground floor, Central library)
- Find our life size Captain Haddock statue!

Wednesday 29th of April
6 – 8.00pm | Free mystery Comic film!
Come along to our mystery comic-themed film at the Central library. We guarantee comic satisfaction and prizes at this once only ComicFest screening. Seating is limited to 50 only, so contact us at the Central library to book seats or email! (For Teens +)

Thursday 30th of April
6 – 7.00pm | Panel: From cartoons to comics
When is a cartoon a comic – New Zealand cartoonists and comic artists consider the relationship between the two and ask how this may be changing. Join this panel discussion including Sunday Star Times cartoonist Sharon Murdoch, comic artists and cartoonists Toby Morris and Cory Mathis, and comic writer and historian Tim Bollinger. Moderated by Alexander Turnbull Library cartoon librarian Melinda Johnston.
(Sponsored by Alexander Turnbull library)

7.15 – 8.00pm | Comicfest get together at MEOW
All are welcome to the 2nd annual Wellington ComicFest mixer at Meow café (9 Edward St, Te Aro). A great chance for graphic novel followers to meet with some of New Zealand’s best comic and cartoon talent! (18 years or older)
(Sponsored by Wellington City Libraries)

Friday 1st of May
5 – 6.30pm | Digital comics workshop with Tim Gibson
Tim Gibson is known as a digital pioneer in NZ comic’s circles with his successful ‘Moth City’ title performing well on international website Comixology. Join Tim for an hour and a half of insight into the planning, creation and distribution of a comic using current digital tools and insider tricks of the trade. For all ages and bring your tablet and stylus if you can!
(Sponsored by NZ Comic Con)

7 – 8.00pm | Panel: The current and future state of New Zealand comics
New Zealand comic artists and publishers discuss their work and the changing face of local comic book production. Panel discussion with Pikitia Press publisher and comics creator Matt Emery, ‘Moth City’ creator and digital comics pioneer, Tim Gibson and film maker and comic artist, Jonathan King. Moderated by Wellington cartoonist and comics historian, Tim Bollinger. Attend this panel and enter the draw to win a Pikitia comics prize pack!
(Sponsored by Pikitia Press)

Saturday 2nd of May
Free comic book day
Grab your free comics from our stands, buy from the great folk at Graphic comic store and chat comics with our librarians. Dress as your favourite comic character and win prizes!

All day:
- Free comic book day
- World comics display
- Manga drawing competition
(Sponsored by GRAPHIC comics)

10 – 11.30am | Comics 101 workshop with Sarah Laing
Sarah Laing (Let Me be Frank, cartoonist and novelist) has unique insight into what is required to make successful prose, comics and cartoons. Bring pen and papers along as Sarah imparts tips on the important relation between pictures and words, the value of honest drawing, emotion and story-telling. All ages.
(Sponsored by NZ book council)

11.30am – 12.00pm | Cosplay competition
Winners will be announced for the best ComicFest costume! Prizes for all categories, including children, teens, and adults.
(Sponsored by Unity books)

12 – 1.00pm | ‘Tintin – the journey from comic to film’
Let Tintin and Weta Workshop lead conceptual designer, Chris Guise take you through the process of transforming a much-loved comic into the successful film version of, ‘The adventures of Tintin – the secret of the Unicorn.’ Chris will guide you through this multi-media journey with slides and videos and don’t forget to have your questions ready for Q&A.

1 – 2.00pm | Panel: New Zealand Women’s Comics with the editors of Three Words
Join cartoonist and Let Me Be Frank creator Sarah Laing, award winning graphic poet Rae Joyce, and comics maker and editor Indira Neville in a panel discussion on the rich history and future of New Zealand’s female cartoonists and comics. Sarah, Rae, and Indira will also discuss the genesis and work behind assembling Three Words, a forthcoming comprehensive anthology of New Zealand Women’s Comics. Moderated by cartoonist Matt Emery.
(Sponsored by NZ book council)

2.00 – 2.15pm | Comicfest announces winners for the Manga drawing competition

Don’t forget your free comics posters courtesy of GRAPHIC comic store!

All events are free and unless stated otherwise, open to participants of all ages.

Faction Presents High Water: Damon Keen Interview

New Zealand publisher Faction Comics have a new themed anthology HIGH WATER launching tomorrow night in Auckland, 6:30pm at Kelly Tarlton's Sea Life Aquarium. The launch will feature guest speaker Russel Norman and performances by Tourettes/The Climate Quartet. I asked HIGH WATER Editor Damon Keen a few questions about the background of producing a climate change themed anthology.

Faction Comics site

Faction twitter

Matthew Emery: When did you first become aware of climate change?

Damon Keen: The late 1980s if I remember correctly! I've always been fascinated by science, so I was interested in global warming from quite a young age. Also the Montreal Protocol had just come into effect, phasing out ozone-destroying CFCs, so I naively imagined a similar fix for greenhouse gases at the time.

But yeah... it's been over 25 years of watching our politicians do nothing. So while it's been great to see the green movement grow, between Abbott in Australia and Key in New Zealand, and a media owned heart-and-soul by the corporates, it's a bit disheartening at times.

Image from High Water by Ross Murray

Emery: I know you've campaigned to promote climate change awareness in avenues other than comics, have you personally experienced pushback from climate change deniers?

Keen: Absolutely; particularly online of course. Often it's people spewing out nearly incomprehensible gibberish, and crazy claims that have no basis in the modern understanding of climate change or even science. They're often just trolls, and not remotely interested in reasoned discussion, which I suppose makes them easier to ignore.

More disturbing is having encountered quite intelligent people who hold these beliefs. I talked to someone recently who had been soured by Auckland University Professor (and NZ Herald favourite), De Freitas, a man who insists on feeding his students denial information. Reasonably enough they think they're getting balanced information. They always parrot the old chestnut about "dissenters in science" having their place.

Yeah, De Freitas isn't Galileo.

Other deniers, who I would consider relatively scientifically literate (as much as I am, anyway), strike me as a real baffling curiosity. In the end I wonder if they cling to their beliefs out of a kind of incomprehension in the face of change. I think people really fear change - of any kind, and when things have been stable for a while they really struggle to imagine that things could be different. I think it just becomes easier for them to believe that things must stay the same - largely because they simply can not conceive of their lives changing that radically.

Image from Dear Hinewai by Dylan Horrocks.

Emery: Can you talk a bit about Creative NZ's involvement in the High Water anthology?

Keen: Creative NZ funded Faction to help pay for the printing costs of "Faction 3" and this special themed issue of Faction - "Faction Presents High Water". We hope to do more of these themed Faction hardbacks in future. They won't be included in the normal numbering of Faction issues (for those of us who are OCD inclined - like myself!).

Anyway, it was Faction's first support from CNZ, so wonderful to have! I think they're a lot more open to supporting the NZ comic community these days - and it's hugely appreciated. But actually High Water was also independently funded by a friend of mine, who thought it was a worthy cause and donated money to help make this happen. We're really indebted to her generosity.

Emery: Did you have editorial input into the comics in High Water?

Keen: Only to the extend that I outlined a few conditions to the artists about what we were envisaging from the beginning - and the kind of book it would be. Additionally I fed back a few ideas here and there as the comics came in, and asked for the occasional cosmetic change. However to be honest, these artists are all working to a very high standard, so my input just wasn't that necessary.

Come to think of it - my main job was chasing the ratbags down, to make sure they delivered!

Image from Below the Waves by Katie O'Neill.

2014 in Review: Rae Joyce

What have been your personal cartooning/comics highlights of 2014?
~ Being selected to participate in the NZ Book Council in association with PANZ graphic novelist exchange with Taiwan - #NZatTIBE - is certainly a personal highlight of 2014.

~ Forging a niche as the first graphic poet to have work published in the literary journals Two Thirds North (Uni of Stockholm), Thrush Poetry Journal, Poetry Bus (Money Issue), and Hermeneutic Chaos Literary Journal.

~ Taking a photo of the cartoon illustrated street sign for Bash Street in Dundee, when I was over as a finalist in the Dundee International Book Prize in October.

~ Co-editing the anthology of New Zealand women's comics and cartoons Three Words, with Indira Neville and Sarah Laing.

What are some of the comics you've enjoyed in 2014?
~ Co-editing Three Words has introduced me to some amazing and new-to-me work by New Zealand cartoonists, including the surreal mini-comics of Margaret Silverwood: "Utopia Now" "Waldoland" and "Paradise Lost"; and the pieces created for the anthology are outstanding, a particular favourite being Adele Jackson's personal family history comic.

What is something non-comics that you have enjoyed in 2014?
~ I enjoyed having my unpublished novel highly praised by last year's Booker Prize judge Stuart Kelly. Woop woop - sucking in all the self-esteem boosts I can get!

~My kids are generally awesome - 13 y/o daughter started her rookie lifeguard training this year and 6 y/o son learnt to read fluently - and they give the best hugs (which are in demand for a woman working in the NZ comics scene).

What are you looking forward to in 2015?
~ Exhibiting work in the Taipei International Book Fair, taking part in workshops there and finishing the rest of the graphic novelists exchange residency.

~ Getting better aquainted with Tim Gibson and Ant Sang and out Taiwanese colleagues, Ahn Zhe, 61Chi, and Chuang Yung-shin.

~ Launching Three Words!

Snow Like Thought

Three Words Interview - Rae Fenton, Sarah Laing & Indira Neville

Three Words is a forthcoming New Zealand comics anthology spearheaded by three editors, Sarah Laing, Rae Fenton and Indira Neville. Focusing on New Zealand's female cartoonists, submissions are currently being accepted until Oct 31st.

From the 3 Words Blog,

"The book will incorporate both existing and new work. We want to make visible the depth and breadth of New Zealand women’s comics; showing off some of the beautiful, amazing and often-unseen women’s comics of the past, as well as providing an opportunity for collaboration and the creation of new book-specific pieces via the Three words concept. Interested? Three words wants you."

More details on Three Words Facebook and Blog.

In my professional capacity as a mailman I asked a few questions of the Three Words Editors.

Matt Emery: How did you ladies come to collaborate on this project? 

Sarah Laing: I knew Indira and Rae through Facebook and, in Rae’s case, comics dos, and I met Indira at this year’s zine fest. When I suggested we get together an anthology of women’s comics Indira was immediately keen - the time was ripe, and she’d compiled women’s comics in the past. We invited Rae too because we knew she was smart, an experienced editor, and an awesome writer of comics, fiction and poetry. Besides, we’d all been quite active in an online debate post publication of Adrian Kinnaird’s From Earth’s End - which was fantastic but notably short on women’s comics. We all come from slightly different points on the comics spectrum and thought that our perspectives would make for a diverse, challenging book. 

Indira Neville: Another good reason for including Rae is that she is a total rabble-rouser!

Rae Fenton: I'm not so much a rabble-rouser as fiercely working-class. When From Earth's End was published, it was immediately apparent that it would be a terrific resource for "Competent boy comics" (see Indira's Q1), and their fans, but bugger all use to those of us in the comics scene who didn't already have an established network, platform or voice. Historically, men look after their own and women are written out of history in exactly the way From Earth's End unintentionally demonstrates, more so working-class and minority women. Both Indira and were very vocal at the time of From Earth's End's publication that this needed redress. I had already made enquiries with a view to funding a women's anthology, so when Indira and Sarah contacted me to say they were putting together an anthology and asked if I'd like to hop on board I said yes.  

Indira Neville: See? :) 

Rae Fenton

Matt Emery: Why do all recent NZ comics publishing entities involve three people? 

Sarah Laing: Are you talking about From Earth’s End? I suppose 3 is the magic number (now I’ve got De La Soul in my head). The holy trinity, the tryptic, the sides of a triangle. 3’s a prime number. Because comics publishing is hardly a money making exercise it’s good to have a few people to share the work. We’ve been delegating responsibilities - I lead the CNZ grant application, Rae’s managing the social media and Indira has been luring some fantastic contributors. We’ll continue sharing the load to make sure it doesn’t feel too hard - all of us have incredibly busy lives, working, looking after kids, making comics. 

Indira Neville: Plus, if there are disagreements, with three you can always resort to a tie-breaking vote. This is very useful and efficient. 

Matt Emery: I like that the Three Words project is looking at including older works and female cartoonists that may not have been particularly prolific in recent years, what inspired this? 

Sarah Laing: I wanted some community around me - I knew it was there - but because of the ephemeral nature of comics publishing it was hard to find. Whenever I went to comics drinks there’d only be a couple of women there in a sea of men. I missed the 90s comics scene - I was busy being a graphic designer, music fangirl and performance poet - and I wanted to make up for my ignorance. It’s a process of self-education for me. I really want to catch all the amazing comics that slipped by me - to put them in a book that can be sold in bookshops and borrowed from the library, or seen on our blog. I want permanence in a world of crumbling photocopies in boxes under beds. 

Indira Neville: Sarah, your response is so interesting! I fully agree with the ‘saving crumbling photocopies’ idea (have you been snooping under my bed?!) and the desire for community, but I’m struggling to relate to your comments about not being part of the 90s comics scene because you were doing other things. My experience is different, for me comics were part of a larger friends and ‘making stuff’ scenario, which also involved plenty of band fangirl action (and general heckling of performance poets – although I’d love to see you and I promise I would be very well behaved) and making music and other stuff. And it’s still that way actually, I went to a Clean Yr Teeth tape launch the other night and all the tape cover were comics (actually all tape covers are comics by default – they are Illustrations and words in panels). Not sure really what I’m talking about, I guess it relates back to that idea of the three of us having different experiences and perspectives and that this makes for a heady editorial brew! 

Rae Fenton: As someone whose first paid job was in graphics, painting feminist cartoon inspired murals, aged seventeen, but who then spent the 90s busily trying to work my way out of poverty in Northern England, I had had a long period of not appearing prolific -- a hole in my comics CV that gave rise to the well meaning if wholly patronising comment "keep progressing with your work, it's really coming along well" from one of my male peers -- I understand the difficulties inherent with maintaining creative output for some women. Certainly for working-class women. The notion that a woman is less deserving of a place in a comics history or anthology based solely on the volume of her work is simply a middle-classed patriarchal view. I don't think I'm speaking out of turn to say that Indira and Sarah and would all like to change this view.        

Indira Neville: Yep, I think if you only ever make one comic it's still valid as a piece of work. Hey Rae, do you have any photos of your murals? they sound amazing. 

Sarah Laing

Matt Emery: New Zealand is a very multicultural society, although by and large I think the comics community there is populated by white male folk™, are you getting submissions from contributors with a variety of backgrounds and cultures? I'm not suggesting a person's background/culture needs to necessarily reflect the art they make but I do enjoy reading comics about NZ experiences from other than white male folk™ (as well as) and perhaps these are stories that aren't explored very often in NZ comics? 

Sarah Laing: Yes! Although of course we’d love more. We have contributions from women of Maori, Asian, Indian and European heritage, and we’ll be including lots of queer comics, and some by women with disabilities. We're open to comics by transgender people who identify as women, or who once identified as women. I love reading comics in general, but I particularly love reading comics by women from all over the world and their non white male folk™ perspective. I’ve been trying to figure out why the NZ comics scene is dominated by white men when other branches of art and literature have a larger female contingent - I think the poetry scene was the same in the 80s. I loved reading comics as a kid but when I grew older I was too scared to go into comics shops as they seemed to be the domain of the dungeons and dragons boys. I satisfied myself by reading the cartoons in in my women’s studies text books. Discovering Julie Doucet in 2000 was a bit of a reawakening for me, and made me want to draw comics again. I am hoping that our anthology will act as an inspiration for younger women comics creators, and they will see that women are making amazing comics here.   

Indira Neville: Not sure about the ethnicity / background thing, but we definitely have women who have all kinds of perspectives, and lives, and that make all kinds of comics. I like that we have contributors from the literary comics scene, the craft comics scene, the zine comics scene, the commercial comics scene, the art comics scene, and the political comics scene.  And having just categorised all these different kinds of comics I’m going to completely undermine myself and say that one of the things I’m really looking forward to is just having all these comics side-by-side in a book. No categories or qualifiers or comments or ratings or judgements – just comics! Any written discourse about the works will be provided by the contributor, no ‘experts’ involved. 

Indira Neville

Matt Emery: Who are some of your favourite female cartoonists? What are the particular themes/genres or aesthetics that appeal to you about their work? 

Rae Fenton: Thank goodness you didn't ask me my favourite colour! Hmn...In terms of New Zealand female cartoonists: I know Sarah Laing, Indira Neville, Ralphi (Lauren Marriott), Jem Yoshioka, Robyn E. see, before Sarah and Indira and started this anthology, there were, it seemed, no other female cartoonists in NZ. Coming from overseas it was obvious that, unless you were part of the established scene and had personally been introduced to a cartoonist/comic artist and or their work, there wasn't a simple or straightforward way of finding out who the other female cartoonists were - which is precisely why Three Words is such an important project. Outside NZ, I'm a big fan of Andrea Offermann - I first saw her work in the Flight anthology, maybe issue 4, with a piece called "Twenty-four Hours", and thought it was amazing, just a perfect balance of detail and ambiguity - I guess poetry is my favourite genre. Aesthetically, anything that's messy around the edges; nothing too neat or polished. Graphic novel wise, there's Marjane Satrapi's Persepolis and its successor, and Alison Bechdel's Fun Home - I cannot read the ending, where young Alison's dad catches her in the pool, without crying - every time, possibly because my dad was such a shit to me; I guess I feel an affinity for the characters and their tenacity. I'm very drawn to works that explore feminist politics and class and represent the sort of women that I can identify with: women society has tried to keep quiet. 

Indira Neville: Weirdly no one ever asks me this question (so thanks Matt). Probably it won't make great copy but I'm going to take advantage of the opportunity to list a few non NZ women comic artists I loveTove Jansson (sigh), Reina Bull (with her science fiction pot boiler connections and complete disregard for anatomy), Marjorie Owens (she drew these lovely whimsical British nursery comics), Chiyomi Hashiguchi and Hanako Yamada (always such a welcome relief from all the peckers in Garo, but also some of the weirdest comics in there). Juliana Buch Trabal (she is one of the few identifiable individuals I have been able to discover that was part of the girl comics scene of the 70s and 80s (Judy, Bunty, Tammy, Mandy etcand with which I am a bit obsessed). For a million years Dame Darcy was my favourite comic artist and then I unfortunately heard her band and thought it was a bit lame and then saw an interview with her and didn't much like her, but when I remember to forget these things Meatcake is still amazing. 

Rae profile cartoon for three words blog.jpg


Matt Emery: Is there much happening in the way of editorial input or curating with Three Words? 

Rae Fenton: Definitely, there have been many discussions around the aesthetics of Three Words, and its proposed contents. Each of us, Indira, Sarah and I, have our own preferences in terms of what sort of work appeals to our personal tastes, and each of us champions a differing ethos, so I envisage a lot of healthy debate about which submissions get in and how they will be ordered.    

Indira Neville: There is also the Three Words framework we have set up for the creating of new work. We thought it was important to have some stuff that no one has ever seen before, and also an opportunity for artists to collaborate with each other. One nice thing that has happened as a result of this idea is that some women who are keen to be in the book, but who haven't made comics for a significant period of time, have expressed excitement about making something new. 

Sarah Laing

Matt Emery: What has been challenging about assembling this project so far? 

Rae Fenton: The greatest challenge for me has been the lack of a one-stop shop for contacts, as I mentioned earlier, but this just tells me how needed Three Words is; this will be, to the best of my knowledge, the first anthology of its kind for women comics artist and cartoonists in New Zealand, and will, I hope, also function as a beginners' directory, if not a definitive one. I'd like to see New Zealand's women cartoonists, comic artists and graphic novelists in books like Graphic Women, by Hilary L. Chute, for example. But a lot of NZ comics artists seem happy to remain underground, which is fine, but I think history has shown us how underground can be a synonym for buried. Accounting for everyone may prove our greatest challenge overall.                                                                                                                                                                                                                                                     

Matt Emery: Indira, there was a wonderful phrase you used in a facebook comment to describe what you disliked about a portion of the NZ comics community/scene that I can't for the life of me find or recall specifically but I thought it a very astute observation at the time. Do know what I'm talking about? Can you elaborate on my vagueness?

Indira Neville: Heh. I can’t recall the exact words but it would have been one of my standard rants about the idea of ‘competent boy comics’. ‘Competent boy comics’ is a term I use to describe the current high profile and related proliferation of a certain kind of comic in New Zealand. In my opinion, these comics share a number of characteristics - a very proficient drawing style, a tasteful colour palette, a commitment to traditional linear narratives, page layouts and frames, and an adherence to the conventions of whatever genre the artist is working in (usually adventure/action and/or fantasy and/or slice-of-life/biographical). They essentially have a kind of ‘professional’ inoffensive smoothness and adequate appeal. It’s also important to note that competent boy comics’ aren’t only made by boysin this context I think of ‘boy’ as an adjective rather than a noun.  

I have a couple of thoughts about ‘competent boy comics’ – the first is that they are just not my cup of tea. Some examples are blander than others, but I actually really struggle to see any of these comics properly, they all look pretty much the same to me and my eyes just slide off the page. Theseem to me to eliminate all the things that make the medium of comics amazing – the weirdness, the silliness, the mess, the horror, the confusion, the spazziness, the raw, the personal, the grubbiness, the joy and the home-made.  

I accept however, that what I have just described is simply a matter of taste, and that these kinds of comics can still be valid even if I don’t personally like them. My second point however is that, while the works themselves may be valid, the discourse around them isn’t (to be fair this doesn't necessarily come from the artists) and it really pisses me off! Essentially it seems to me that many people do not recognise ‘competent boy comics’ as just one way of approaching the medium. Instead these works are represented via the obliviously offensive notion of a comics ‘maturity’ or ‘pinnacle’, as if they are ‘better’ and something for other kinds of comic artists to aspire to – yuck!  

This idea was acutely illustrated for me when one prominent New Zealand comics personality publicly compared the ‘progress’ of New Zealand comics with that of the Dunedin music scene. As I remember it, he essentially talked about how making comics was kind of an underground DIY activity like music in the early years of Flying Nun, but that now, like Flying Nun, comics are widespread and professional and accessible and commercially viable. For me this analogy has two main flaws – firstly the DIY music scene didn’t stop just because Flying Nun became a ‘proper’ record label; and secondly, when Flying Nun did go all respectable we had to listen to a lot of really shit bands (remember Garageland and Superette!?) 

Rae Fenton

Matt Emery: Announcements of Three Words contributors have been slowly trickling out on FB, has there been some pleasant surprises amongst the artists you've lined up to be involved? 

Indira Neville: Yes! And for two kinds of reasons – there are artists whose work I just love and want to see in a fancy book (like Ducklingmonster, Jessica Dewes, Elizabeth Mathews, Susan Te Kahurangi King); and there are artists whose contribution to the NZ comics scene is important (like Renee Jones, Robyn KenealySharon Murdoch, Lisa Noble, Rosemary McLeod, Coco Solid) Oh and I like their work too! 

Also I am very excited about a couple of essays we have planned for inclusion; one is about the unsung comic heroines of Broadsheet and the 80s lesbian scene - Wonderful weird comics, almost never seen outside of their niche. The other is going to be about Debra Boyask, written by her sister Ruth. Debra was a kick-arse comic artist, but also an incredible connector and encourager of others. I am so happy we can acknowledge her important work. 

Sarah Laing

Matt Emery: Many of the new NZ female cartoonists I've discovered in recent years work almost exclusively in the digital realm. Are any lady-drawers fitting this description involved with Three Words? 

Indira Neville: I’m sorry, I really don’t know the answer to this question. None of the women contributors I know are digital-exclusive, but there are women submitting that I know next-to-nothing about, so maybe? Also my experience is not the same as yours. My recent ‘discoveries’ use paper, like Jessica DewesPhoebe Carse, Charlotte Hague, and Katie Parrish. 

Actually, most women artists I know aren’t even exclusively comics! For example, Sarah and Rae also write; Stella Corkery, Rachel Shearer, and Alie MacPherson are fine artists; and me, Duckling Monster, Coco Solid and Liz Mathews also make music. 

Rae Fenton: I'm going to draw a comic about all the synonyms men feel compelled to use when talking about women cartoonists: "lady-drawers" is going in there. Definition: feminine knickers with pencil holder.    

Indira Neville: Hey Rae let's you, me and Sarah start a band called Lady-drawers! 

Sarah Laing: You're on. 

Indira Highlighter comic.jpeg

Indira Neville