It’s not a lie. His mama is really covered in mold.
I lied! Whilst looking at my old comics from Halloweens past, I came across the original version of Halloween Insult Comics and realize that if I could find the original file, I could just write some new insults on the old image. And then I realized that I could use the horizontal type tool for the text, which is much more efficient than hand lettering. So this is a new comic. My hand is mostly OK now, and I have commission comic for cash money to draw this weekend.
You’re both so ugly people go as you for Halloween.
Special fangs to the dear friend (referred to, here and there in Dragon comics as the Vampire Bat, for reasons that must soon become clear) who sends out Halloween care packages every year and in whose honor this spooky insult comic was created. Most of the items in the image are from this year’s Halloween box; one is from a few years ago, and there’s also a commemorative matchbook for Bonnie Jo Campbell’s first novel, Q Road. You can’t make it out that well, but it’s a pumpkin with a butcher’s knife sticking out of it. Anyway, these buttons cracked me up the most. The jack-o-lantern especially looks like a real jerk.
Sadly, I still live in the desert, so all the chocolate in the Halloween box melted. However, the box itself is pretty nice. 1000 household uses. Skull Face and Jack-o-Lantern may insult each other in front of it again in the future. So spooky!
Ah, it’s all in good fun.
Tomorrow I have a photo shoot for a hair color blog. Financial remuneration has been suggested. Art!
La la la…do you hear that? Sort of sounds like the wind. Some kind of really annoying wind. Actually, I don’t hear anything at all.
Misery, by Stephen King, is a decent scary story about a guy held captive by a deranged woman, and for most readers, and anyone who’s only watched the movie, the plot is the key. What always struck me as most interesting, though, was King’s discussion of the writing process. The movie more or less glosses over Paul Sheldon’s process, while the book not only contains big chunks of several of Sheldon’s novels, but also provides a wonderful description of what it feel like to be a writer “in the zone” (Google Mihály Csíkszentmihályi to learn more about this concept), how the creative process unfurls, and what the art of writing feels like and means.
One of the metaphors King uses to illustrate Sheldon’s ability to survive is the game of “Can You?” a competitive form of storytelling the character played as a child, which involved making up stories with cliffhangers, then tagging the next player to help the character escape his predicament by continuing the story is a believable way. The other player then voted on whether or not they bought this section of the story: Can you? Sheldon always could, and, as he struggles through his ordeal, he realizes he is playing a real life version of Can You? and that yes, he can.
This is one way of looking at the creative life: every day is a game of Can You? If, every day, you play the game, most likely, you find that you can. If you can’t, you probably give up and do something else. But if you can, it sustain you even when the snake slithers around hissing insults in your ear. When you remind yourself that you can, it’s easier to ignore the ones who keep saying you can’t.