FOOTNOTES

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Phantastique from Sydney in 1986 lasted only 4 issues, as it was in the style of but with mainstream distribution - it generated national publicity from opponents and. When the statues of Egyptian gods left their temples, which were considered their homes, they often traveled within a barque carried by the priests of the god. Through its Page Publications imprint, published reprints.

Bookscan data from the US shows Graphic Novels to be the only category to grow year after year for the past decade, but since graphic novel sales in Australia are mostly sold online or in specialty stores, exact figures are difficult to collect. That does not necessarily indicate a disease—several mummies in the same batch also had the same scarring, which meant that it might have been caused by carelessness during mummification. Despite this, Australia still manages to have a long history of independent work, and its best local cartoonists have always been as distinct and entertaining as their international counterparts.

The story of Queenie Chan, a manga artist crushing sexism and stereotypes

Oz Comic-Con in Sydney and Brisbane also came and went, and things were pretty good. I'm now back at university, with less work than last semester, so I'm also now working on my comics for Wu Zetian. The good news is that I've finished inking the Wu Zetian comic! It's 36 pages, originally 32, but I've added 4 more pages in that I need to draw and work on. However, the bulk of it is done, which is great news. Am looking to colour it first, while researching Elizabeth I and working on my Masters coursework.. A few months ago, I was asked to do a strip by Earshot about my experiences working as a manga artist in Australia. It was part of a larger investigation into manga by ABC RN, and I was happy to do it. I also did a short live radio segment on Stop Everything on Friday the 12th Oct 2018, which was lotsa fun. The comic itself is available below, and it was so unexpectedly popular it got on the front page of the ABC website! I got so pumped about it being on the front page of the ABC website, that I took a screenshot. Categories, This article was originally written for Magpies Magazine Vol 32, No. The purpose of writing this article was to raise awareness for Australian comics in local libraries. Comics and Graphic Novels have become a major part of the literary landscape in the past 10 years, with demand driving many libraries and schools to establish a graphic novel section. Much of the growth is being driven by Asian and North America publishers and creators, but what about Australian graphic novelists and comic creators? Comic Con-versation: A Library Festival When librarian Karen Dwarte decided to hold an evening comic convention at Ashfield library in 2014, she was surprised by the enthusiastic response. The positive feedback led her to establish the annual library festival , an event that has grown to include 20 Sydney libraries in 2017. It makes a concerted effort to promote the work of local authors and artists, and attracts a number of children, teens and adults interested in comics—of which there are many. They were typically superhero comics from America, or more recently, manga from Japan. Despite this, Australia still manages to have a long history of independent work, and its best local cartoonists have always been as distinct and entertaining as their international counterparts. It also includes the work of cultural commentators such as Michael Leunig. Either way, Australian comic creators face the same problems as Australians in all areas of art: a small, fragmented market dominated by countries with more established industries and larger cultural footprints. As such, self-publishing is the norm for a lot of local graphic novelists. This is hardly new for comics as a medium—for decades, underground comic book creators of more esoteric, experimental fare such as Robert Crumb and Art Spiegelman have self-published. This has led to an influx of young people as well as more diverse voices, including women, people of colour, and LGBT creators. This figure seems to indicate a growing market and appetite for locally-produced work, which is promising. Marketplaces for Australian Comics As mentioned, the popularity of superhero movies has raised the cachet of comics to the general public. Nowhere can that be more keenly felt than at pop-culture extravaganza events like , and. Comic conventions may have originally been an American phenomenon—where fans of a particular subculture gather to celebrate their interests—but since the birth of the Internet, fan hysteria over a hit TV series can now travel across the world at warp speed. Other events such as , , Manly Zine Fair, , and occupy a similar space, though these tend to be community events run by local libraries and councils rather than small press creators. Alternative venues for sales are also growing. Likewise, art galleries are also taking an interest in comic art — Liverpool City Library has held yearly comic exhibitions starring local creators, while in Sydney is hosting an annual exhibition by members of the. Sales figures from these events can vary wildly depending on the creator, though it points to a burgeoning culture that occupy real-world as well as virtual spaces. As with books, selling comics through the internet is common these days, with websites such as the Amazon-owned Comixology allowing self-published comics alongside professionally-published ones. Australian creators have a global reach with these services, as they do with social media platforms where colourful illustrations remain highly popular. However, despite the ubiquity of such e-services, e-sales of comic book sales are believed to be only 10% of total comic sales, compared to 25% for e-books. This suggests either a readership with a preference for the physical edition, or just as likely, rampant internet piracy. If hard copies of comics are preferred, then what about more traditional venues of book sales? Are there viable retail locations for Australian creators to ply their work outside the online or convention circuit? On the other hand, more niche outlets such as comic bookstores have been thriving. However, the subject of our interest is their section for Australian comics—which may or may not have its own dedicated shelf in such spaces devoted to pop culture. When there are more comic bookstores now than there were two decades ago, it was customary in the 1980s for a local store to have a shelf dedicated to Australian work. Nowadays, a cursory examination of different comic bookstores can tell varying stories about their relationship to locally-produced comics. When a creative team puts money and effort into promoting their work, they can do very well. As the publishing industry fragments due to new technologies such as e-books and print-on-demand, all entrepreneur-artists can do with better self-promotion. However, few artistic types have the skillset to handle both the creative and the business side of their work, which is why publishers exist in the first place—to serve those needs. With the boom in graphic novels, you might think that publishers, with their wide-reaching distribution networks, would take a bigger interest in comics. Unfortunately, Australian publishers are not known for publishing a lot of graphic novels. However, the reason may not be what most people think. It was published in 2008 by Lothian Books in Melbourne, an imprint of Hachette Australia. Certainly, things should have changed a decade later? This is despite it being clearly a graphic novel and not a picture book. In other words, Australian publishers do know the difference between a picture book and a graphic novel, but they deliberately mislabel graphic novels as picture books. A burning question arises: Why? Conversely, picture books will always be stocked, since picture books are a known category that will still make money despite the failure or success of an individual book. It may sound lazy, but both bookstores and publishing houses are businesses. Where a book is stocked in a bookstore can determine its sales trajectory, and as such, mislabelling the category of a book is probably just a business decision, nothing more. Bookscan data from the US shows Graphic Novels to be the only category to grow year after year for the past decade, but since graphic novel sales in Australia are mostly sold online or in specialty stores, exact figures are difficult to collect. A hangout for all things hip, the bookstore has had a well-stocked graphic novel section since its opening in 1996. The only chain bookstore that stocked comics in this country was Borders, and after it went bankrupt in 2011, it has only helped bookstores like Kinokuniya. As an industry, however, bookstores are embattled. Fads such as the colouring book craze aside, there has been no monster-selling book in the past few years to pull bookstores out of their retail slide. Even without the looming spectre of Amazon entering the Australian market, rising rents and runaway overheads have caused the bookstore market to contract. New book sections require breadth of selection, shelf space, and knowledgeable employees, and the monetary returns are too uncertain for them to bother. No matter the aesthetic, the way that these artists see themselves has undergone a subtle but important shift. Still, we continue to push forward, finding new audiences and converts every day like any growing subculture would. This new interest in graphic novels from libraries is a frontier that was unthinkable only a decade ago, and so a concerted effort took place this year to get more Australian comics listed with library suppliers such as James Bennett and the ALS. When I first started Comic Con-versation, it was very difficult to buy Australian comics for the library because of the paperwork involved. Below is a list of Australian graphic novels for both children and adults that are available to order from library suppliers. Categories This is a workshop I gave for the Sydney Comics Guild in February 2017, and I finally am putting it online. The basics of background drawing are widely available online, and mastering it simply requires practice. In other worlds, world-building basics is one of its goals. World-building is the process of constructing a reasonably believable fictional place or universe. This most commonly happens in the fantasy and sci-fi genres, but the truth is, creating a reasonably believable time and place is necessary for any kind of fiction. The goal here is not to draw something generic-looking, but something specific-looking. Readers remember this series mostly for how the school looks, and this is what you want to aim for when you create the visual design of a world. It may be difficult to do at first, but it will become easier as you change the way you think. For this same reason, the layout of the building also has to make sense. You can integrate the history of the world and building into the skyline and floorplan of your buildings, which can be inspiring for writer-artists. One way to avoid this is to plan ahead, and conceive of each civilisation as collection of polygonal shapes. You can also use real life or history for inspiration. You can see this in the examples above: Summerstone is inspired by Ancient Eygpt, and so uses a lot of trapeziums, triangles, and circles. Meanwhile, Fallinor the western-style fantasy castle uses mostly rectangles, triangles, and ovals. Motifs are also important, and a good way to differentiate between different civilisations. You can see here, that while the composition is similar in each of the two sets of skylines, the shapes used makes each location immediately and recognisably different. Inland or by the sea? Swamps, marshes, deserts, rolling hills, forests, jungles, plains, rivers, valleys, lakes, and natural resources such as animals and minerals. All these things are important. If your place has heavy snow or rain in Winter, then no one will ever build anything with a flat roof. If a place is prone to floods, then houses may be built on stilts. However, not everything needs to have rivers and lakes — there are plenty of places that have underground water. People can build irrigation channels from underground water sources. Where do your people come from? Where do they think they come from? What is their history? Were they originally farmers, nomads, or did they sail to where they are now? Have they been enslaved before by a greater power? Are they themselves conquerors and slavers? Have any great cataclysms happened to them in the past that influenced them? Thanks for reading this! Study the history, politics, mythologies, religion, philosophies, biology, medicine and economics, etc of our world in order to come up with something believable! Categories Tags Here are the footnotes and bibliography that should accompany the I created. Feel free to email me if there are corrections required. Some of the books also have multiple editions, so if you have a different edition, the page numbers may not be correct. He honoured both his grandmother Tetisheri on a cenotaph at Abydos, and his mother Ahhotep I on a stela which was later recovered from Karnak. Instead, it was a political and religius office tied directly to the Pharaoh and his Great Wife or mother. It seemed to have been established in the reign of 18th Century founder Ahmose I for his Great Wife Ahmose Nefertari. It isunknown who their mother s were, but it is likely that they died young since their names vanished from the inscriptions after a certain time. It is generally believed that their mother was Mutnofret, also the mother of Thutmose II. There were probably other campaigns in Syria and in Sinai during this time. It was also customary for the Egyptians to abduct the young sons of nobles from their defeated states as hostages, so they could be schooled in the ways of their conquerors and become obedient rulers of their vassal states. However, Ahmes did not — which might mean that Mutnofret had the stronger bloodline. According to Roehrig, 2006 PP. Having highborn and well-connected wives may seem like a good way to drum up support, but in reality, it could also create succession struggles and clan disputes. By the 18th Dynasty, the god Amun had become the principle god in the Egyptian pantheon. In ancient Egypt, men were considered the progenitor of the life force that created the universe, while women were considered receptacles, or the fertile soil for his seed. For that reason, women were considered unable to renew themselves in the cycle of life necessary for universal balance to be maintained, which was why the Pharaoh must always be a man in Egyptian theology. Bes was the wildly popular Egyptian dwarf god of war, but he was also the patron of childbirth and the home. He was associated with sexuality, humour, dancing and music, and his cult was popular with all segments of Egyptian society. He was often associated with Taweret in the New Kingdom, who was a fierce protection goddess of childbirth who was linked with the lion, the crocodile, but especially the hippo. The Egyptian royals probably had palaces up and down the Nile river. Thebes was the religious capital, and so at times, the Pharaoh would go to the ceremonial palace at the Entrance of Karnak on the east bank and attend to the priests in its audience hall. The audience hall and throne room would have been the centrepiece of the palace. The exact length of this time period is unknown. This is an example of her influence years before she became Pharaoh. It is believed that Hatshepsut had other daughters besides Nefrure, but Nefrure might have been the only one to survive to adulthood. Child mortality rates were very high in ancient Egypt, and children often died of any number of illnesses and diseases before they came of age. Egyptian harems were not quite like that of other countries such as the Turkish Seraglio or the Chinese Rear Palace. It also seemed that the lesser harem women were expected to earn their keep by doing chores like cooking, cleaning, nursing, and most likely weaving. When a mummy believed to be that of Thutmose II was found in the 19th Century, his skin was covered in lesions and scars. That does not necessarily indicate a disease—several mummies in the same batch also had the same scarring, which meant that it might have been caused by carelessness during mummification. Examination revealed an enlarged heart, which meant that the man suffered from arrhythmias and shortness of breath, which probably led to a lack of athleticism and a poor constitution. However, it cannot be definitively proven that this was the mummy of Thutmose II. Thutmose I had no direct line to the previous pharaoh Amenhotep I, who ruled for 20 years and never sired a son. It was assumed Amenhotep I came to the throne young, since his mother Ahmes-Nefertari ruled on his behalf for a time. This could indicate that his mother came from a commoner background. When the statues of Egyptian gods left their temples, which were considered their homes, they often traveled within a barque carried by the priests of the god. Thutmose III would later record this oracle in his annals, and make the same claims as Hatshepsut did. In his eyes, he was chosen and divine, and whether he truly believed it or not was irrelevant as this was how Egyptian pharaohs portrayed their kingship. This lack of other titles indicate that she probably had no political connections. These two separate kingdoms were originally united in 3000BC, but each maintained its own regalia: the hedjet or White Crown for Upper Southern Egypt and the deshret or Red Crown for Lower Northern Egypt. Hapuseneb was possibly a distant relative of Hatshepsut, since he emphasised his childhood connection to the royal court. As the high priest of Amun, he commanded a high amount of influence, and he was well-rewarded for his loyalty. Ineni was already the royal architect and Overseer of Royal Buildings during the reign of Amenhotep I. It seemed that Ineni was favoured by Hatshepsut, since the steles on the walls of his tomb talked about how she praised him and granted him riches. Ahmose Pennekhbet was from a distinguished Theban aristocratic family, and already served the Thutmosic family in some form when Hatshepsut came to power. However, there are a few inscriptions from Deir El-Bahri that suggested she traveled with her army to the south to suppress a Nubian insurrection. There is also an unofficial graffito recovered from the Upper Egyptian island of Sehel modern day Aswan , that was written on behalf of a bureaucrat called Ty who also served under Thutmose III. Sehel was like an ancient bulletin board—it was where people had announcements inscribed, and there are hundreds of unofficial announcements there. As such, many of them were named in reliefs and inscriptions. Hatshepsut herself had a wet nurse called Sitre who she seemed close to, and who was rewarded with a statue. Senenmut is referring to the Westcar Papyrus, a Middle Kingdom collection of fantastic stories about the 4th Dynasty royal court. In it, one story about the Old Kingdom had a trio of goddesses help the Lady Reddjedet give birth to three triplet sons born of Ra. Senenmut is holding ostraca, which are pieces of broken pottery that craftsmen used to plan or teach drawing or writing. They were cheap and widely used, and sketches were often made on these pottery for carvings before they were actually carved. Some of these were on blocks from Karnak temple, which show her and Thutmose II. These were probably made in memory of her husband, but it was also probably done to solidify her claim to the regency by emphasising her connection to Thutmose II. Interestingly enough, Thutmose III was also in it, depicted as a grown man and not a child, meaning that Hapshetsut was already establishing her connection to his kingship. In it, Hatshepsut offered wine to the god Amun-Re, something only Pharaohs can do. Hatshepsut was not the first to depict herself in this manner. Sobekneferu of the 12th dynasty did too she was a daughter of Amenemhat III who married her brother , although her reign was very brief. Sobekneferu was a queen regnant who ruled with no son, so Hatshepsut may have used her as a model. Both items are considered scepters, and there were other kinds of scepters that were often depicted with the pharaoh, the gods, priests and important officials. Since they took years to quarry, Hatshepsut took over them for her own coronation. Obelisks were religious objects meant to be a stone representation of the first beams of light to illuminate the world, and their tops were covered with gold foil so they shone. They were even regarded as living things—they had personal names, and offerings were made to them. For example, Hatshepsut had been known to date her reign all the way back to the reign of Thutmose I, since she was trying to stress her connection to him by claiming her as his legitimate heir, a move she buttressed by de-emphasising the reign of Thutmose II. Punt was not the first trading expedition Hatshepsut undertook. Before Punt, the court had also visited Phoenicia to collect timber for her ships, and exploited the mines of Sinai for copper and turquoise, which was attested to by various stela and inscriptions at the Wadi Maghara and Serabit el-Khadim. They were often from old, distinguished Theban families where the positions were hereditary, and their fathers occupied similar positions before they took them over. On top of that, he also impinged on some of the responsibilities of other high-ranking officials, which meant that he made some enemies among the influential families of Thebes. However, it was possible that Hatshepsut meant for her men of common backgrounds to have overlapping responsibilities with high-ranking nobles. It was a way to remain checks and balances within the system, and to ensure that neither group gained so much power that they could threaten her. Under the old system, the temples of various cults were staffed by a few main priests and a variety of part-time personnel. The professionalisation of the priesthood had begun under Thutmose I, but was truly accomplished under Hatshepsut. Hatshepsut was the first of Egyptian Pharaohs to build extensively in sandstone instead of limestone, and the strength of sandstone allowed her to build larger and taller buildings than before. The amount of building also allowed her plenty of space to sing her own praises and propagandise her reign and rule. Hatshepsut built a temple for Pakhet, an obscure lion-headed goddess at Beni Hasan in Middle Egypt, which the Greeks later called Speos Artemidos after their own hunting goddess Artemis. She also built temples for Ptah at Memphis and Thebes, Thoth at Hermopolis, Khnum and Satet at Elephantine, Monthu at Armant, and a lot of other constructions in Nubia. In her lifetime, Hatshepsut promoted the cult of Hathor, the daughter of Amun, at her mortuary temple, and while her funerary cult was abandoned soon after her death, the cult of Hathor would continue to be celebrated here. The temple continued to be used for worship right up until the Ptolemaic period and even after, until it was abandoned in the 8th Century B. They had a game, similar to hockey, that was played with a coloured ball and bats with a curved end made of long palm tree branches. Other games involved a hoop and two sticks, where the two competitors tried to pull the hoop in their direction while making the hoop stay upright. Mirrors did not exist in Ancient Egypt yet. People used discs of polished bronze or other metals to check their reflection. Apart from kohl made from lead, eye paint made from malachite, and red stains for cheeks and lips made from ochre, they also dyed their hair and painted their nails with henna. Many Egyptian men and women also wore wigs made of human hair, which meant that Hatshepsut possibly had a shaven bald head. She might also have fallen out of favour. They were certainly close, and it was suggested that they might have been lovers. Not only did Hatshepsut allow Senenmut to tunnel his tomb close to hers in the Valley of the Kings, something that was quite bold, but he also managed to get dozens of images of himself engraved in her mortuary temple of Djeser-Djeseru. This sort of thing had no precedence in Pharaonic history, and that, coupled with the fact that Senenmut had no wife or child, made people think their relationship was not platonic. He faded in prominence after her 16th year of reign, meaning that he might have died since he was probably 20 years her senior. It was a shrewd political move on her part, since everyone loved a spectacle, and she threw one of the greatest parties that an Egyptian could have seen in their lifetime. Not only did it affirm the power of the Thutmosic family tree, but it also showed off Thutmose III as a confident, young Pharaoh. There was no evidence of foul play either—if Thutmose III had wanted the throne to himself, he could have launched a military coup at any point in time. Her exact age at death was also unknown, though she could not possibly have been younger than 38 years old. The average life expectancy of an Egyptian was around 30 years old. When Hatshepsut died, there appeared to have been a number of revolts. It was likely that many areas under Egyptian control rebelled, but it was clear that Thutmose III launched his campaign against the Syrians first, which he was quite successful at. It seemed that while she was buried with her father, Thutmose III ended up moving the body of Thutmose I, probably because the grave had been found by graverobbers and ransacked. He was also a great builder and athlete. In his spare time, he composed literary works, and his interests ranged from botany, reading, history, religion and even interior design. He was succeeded by his son Amenhotep II after a period of co-rule. Sexism is a possible reason—removing all traces of a female king to create an unbroken male line is more in line with Egyptian ideas of kingship and the supposed place of a woman. Other reasons include earlier, simpler theories, like the possibility that Thutmose III was a petty man who hated his aunt and wanted revenge. Lastly, while the damage was extensive, it was also shoddy—we still have a lot of images of her left after all, which showed that the destruction was not thorough, and the majority of the images attacked tended to be her most public images. One explanation was that Thutmose III was motivated politically because of a succession crisis in the 20th year of his reign, in regard to his son Amenhotep II, who was made heir after his original heir Amenemhat died unexpectedly. Amenhotep II was birthed by a non-royal mother, so people could have been questioning his lack of royal blood. Who were these people? Once Amenhotep II was solidly on the throne, first as co-king and then alone, the destruction seemed to have ceased. USA: Crown Publishers, 2014. England: Penguin Group, 1996. Egypt: American University in Cairo Press, 2015. United States, Oxford University Press, 2004. United States: The National Geographic Society, 2005. USA: British Museum Press, 1993. Australia: Museum of Victoria, 1988. USA: The Metropolitan Museum of Art, 2006. Greek, Roman and Byzantine studies 42 2001 : PP. The colours turned out great! I printed about 50 copies of these zines in A5 to share with people and get feedback. For those interested in where the visual references came from, I have a bunch of posts on the I did to produce this.

When there are more comic bookstores now than there were two custodes ago, it was customary in the 1980s for a local store to have a shelf dedicated to Australian work. Unsourced australian manga may be challenged and removed. Sales of reprints such as The Phantom and the titles continued to strengthen, with readers beginning to focus on new American imports, particularly the burgeoning line. This most commonly happens in the fantasy and sci-fi genres, but the truth is, creating a reasonably believable time and place is necessary for any kind of fiction. The Egyptian royals probably had palaces up and down the Nile river. These were probably made in gusto of her husband, but it was also probably done to solidify her claim to the regency by emphasising her connection to Thutmose II. Child mortality rates were very high in ancient Egypt, and children often died of any number of illnesses and diseases before they came of age. It was a solo political move on her part, since everyone loved a spectacle, and she threw one of the australian manga parties that an Egyptian could have seen in their lifetime. It makes a concerted effort to promote the work of local authors and artists, and attracts a number of children, teens and jesus interested in comics—of which there are many.