-Crunch-

They want total control over you. Not just trans people. Not just queer people. You. Everyone.

Trans people are just a scapegoat. They want total control over everyone's self expression. They want the right to mold you into their perfect little cog in their dehumanizing machine.

I drew a bunch of silly stuff with my werewolf woman and decided to gather it one post. Sometimes you just have to decompress through being goofy

You can read about her here.

---

These comics are just some silliness I drew for fun. It's not really canon, she lives in a separate setting (not our world) and isn't able to talk as a werewolf. Her original story is also pretty rough and tragic.

---

Pumpkin carving comic was a reward I drew for my patron Taxis

My dad's cat fucks with goldfish.

You know, just your average, everyday neighborhood institution. You got your fruit stand dude, your ice cream truck driver, your elote guy, your meat van man…This guy’s van was sketchy as all get-out too, just a solid white windowless van with the name painted haphazardly on the side. 

Dude came to my place more than once and was visibly… unwell? Each time. Looked very haggard and would park his van, get out and walk up and down the street VERY loudly singing a made up jingle advertising his wares and carrying armfuls of drippy trays of wet, gray looking meat

He’s notorious for getting shitty with you when you politely tell him to leave, and would get so offended he’d storm back to the van and peel out— sometimes he’d have his coffee or oozing meat trays on the hood he’d forget about that’d fly off when he drove and splatter on the ground. 

Alarmingly when you Google the business address it not only says the business is permanently closed (despite this guy routinely still making his rounds selling stuff door to door), but it’s a RESIDENTIAL ADDRESS. Even worse, Google has shown multiple different addresses for this business in the past few years. All of them have been residential addresses. It’s just some regular ol’ house— But when you open up Google Earth on the address it just cuts to a closeup of a manhole cover!? I damn near believe the meat man’s running this shit out of the sewers

Assuming he isn’t peddling human meat (/j. I think.) my only logical guess as to where this guy obtains his product is I think he resells stuff local businesses (hotels, casinos mainly) reject and don’t want to use for their own restaurants due to quality control issues. There must be something genuinely wrong with the product because many reviews mention people falling ill from it and the meat itself not resembling any previous chicken, steak, fish etc. they’ve ever eaten in the past. A lot specifically mention a slimy, rubbery texture and concerning gray color to the meat.

1. This particular company is banned from selling product in at least one state / had their license revoked there

2. As it turns out, this isn’t just a problem in my area— there are multiple companies that sell meat door-to-door like this. Meat vans are somehow a known phenomenon. My horror upon learning this cannot be overstated.

No romance, no action.

have you ever met an Italian man

I'm going to try it.

"Writing Advice": by Charles Palahniuk- In six seconds, you’ll hate me.

But in six months, you’ll be a better writer.

From this point forward – at least for the next half year – you may not use “thought” verbs. These include: Thinks, Knows, Understands, Realizes, Believes, Wants, Remembers, Imagines, Desires, and a hundred others you love to use.

The list should also include: Loves and Hates.

And it should include: Is and Has, but we’ll get to those, later.

Until some time around Christmas, you can’t write: Kenny wondered if Monica didn’t like him going out at night…”

Thinking is abstract. Knowing and believing are intangible. Your story will always be stronger if you just show the physical actions and details of your characters and allow your reader to do the thinking and knowing. And loving and hating.

Instead, you’ll have to Un-pack that to something like: “The mornings after Kenny had stayed out, beyond the last bus, until he’d had to bum a ride or pay for a cab and got home to find Monica faking sleep, faking because she never slept that quiet, those mornings, she’d only put her own cup of coffee in the microwave. Never his.”

Instead of characters knowing anything, you must now present the details that allow the reader to know them. Instead of a character wanting something, you must now describe the thing so that the reader wants it.

Instead of saying: “Adam knew Gwen liked him.”

You’ll have to say: “Between classes, Gwen was always leaned on his locker when he’d go to open it. She’d roll her eyes and shove off with one foot, leaving a black-heel mark on the painted metal, but she also left the smell of her perfume. The combination lock would still be warm from her ass. And the next break, Gwen would be leaned there, again.”

In short, no more short-cuts. Only specific sensory detail: action, smell, taste, sound, and feeling.

Typically, writers use these “thought” verbs at the beginning of a paragraph (In this form, you can call them “Thesis Statements” and I’ll rail against those, later) In a way, they state the intention of the paragraph. And what follows, illustrates them.

For example:

“Brenda knew she’d never make the deadline. Traffic was backed up from the bridge, past the first eight or nine exits. Her cell phone battery was dead. At home, the dogs would need to go out, or there would be a mess to clean up. Plus, she’d promised to water the plants for her neighbor…”

Do you see how the opening “thesis statement” steals the thunder of what follows? Don’t do it.

If nothing else, cut the opening sentence and place it after all the others. Better yet, transplant it and change it to: Brenda would never make the deadline.

Thinking is abstract. Knowing and believing are intangible. Your story will always be stronger if you just show the physical actions and details of your characters and allow your reader to do the thinking and knowing. And loving and hating.

Don’t tell your reader: “Lisa hated Tom.”

Instead, make your case like a lawyer in court, detail by detail. Present each piece of evidence. For example:

“During role call, in the breath after the teacher said Tom’s name, in that moment before he could answer, right then, Lisa would whisper-shout: ‘Butt Wipe,” just as Tom was saying, ‘Here’.”

One of the most-common mistakes that beginning writers make is leaving their characters alone. Writing, you may be alone. Reading, your audience may be alone. But your character should spend very, very little time alone. Because a solitary character starts thinking or worrying or wondering.

For example: Waiting for the bus, Mark started to worry about how long the trip would take..”

A better break-down might be: “The schedule said the bus would come by at noon, but Mark’s watch said it was already 11:57. You could see all the way down the road, as far as the Mall, and not see a bus. No doubt, the driver was parked at the turn-around, the far end of the line, taking a nap. The driver was kicked back, asleep, and Mark was going to be late. Or worse, the driver was drinking, and he’d pull up drunk and charge Mark seventy-five cents for death in a fiery traffic accident…”

A character alone must lapse into fantasy or memory, but even then you can’t use “thought” verbs or any of their abstract relatives.

Oh, and you can just forget about using the verbs forget and remember.

No more transitions such as: “Wanda remember how Nelson used to brush her hair.”

Instead: “Back in their sophomore year, Nelson used to brush her hair with smooth, long strokes of his hand.”

Again, Un-pack. Don’t take short-cuts.

Better yet, get your character with another character, fast. Get them together and get the action started. Let their actions and words show their thoughts. You -- stay out of their heads.

And while you’re avoiding “thought” verbs, be very wary about using the bland verbs “is” and “have.”

One of the most-common mistakes that beginning writers make is leaving their characters alone.

For example:

“Ann’s eyes are blue.”

“Ann has blue eyes.”

Versus:

“Ann coughed and waved one hand past her face, clearing the cigarette smoke from her eyes, blue eyes, before she smiled…”

Instead of bland “is” and “has” statements, try burying your details of what a character has or is, in actions or gestures. At its most basic, this is showing your story instead of telling it.

And forever after, once you’ve learned to Un-pack your characters, you’ll hate the lazy writer who settles for: “Jim sat beside the telephone, wondering why Amanda didn’t call.”

nasa employee: oh hey u guys are back early  astronaut: moon's stuck in a time loop.  nasa employee: what?  astronaut: *loading a pistol* moon’s stuck in a time loop. do you have extra ammo? this won’t be enough. nasa employee: enough for…what? astronaut: *finding extra clip of ammo, pocketing it, and getting back on the rocket-ship* don’t worry about it!

nasa employee: oh hey u guys are back early  astronaut: moon's stuck in a time loop. nasa employee: what?  astronaut: *emerging from supply closet with a space harpoon, getting back on the rocket-ship* moon’s stuck in a time loop.

nasa employee: oh hey u guys are back early  astronaut:   oh hey u guys are back early astronaut: moon's stuck in a time loop.  nasa employee: what?  astronaut: what?  nasa employee: how did you know what i was going to say?  astronaut: *punching in key pad code for base evacuation signal, getting back on the rocket-ship* i told you…moon’s stuck in a time loop. *red warning lights begin flashing*

nasa employee: oh hey u guys are back early  astronaut: moon's stuck in a time loop.  nasa employee: what?  astronaut: *rifling thru bookshelf of operating instructions, selecting one that says “AIRLOCK MANUAL OVERRIDE INSTRUCTIONS,” getting back on the rocket-ship* moon’s stuck in a time loop.

nasa employee: oh hey u guys are back early  astronaut: moon's stuck in a time loop.  nasa employee: what?  astronaut: moon’s stuck in a time loop. hey, do you have anything to eat? i’m starving. *opens random drawer, finds nothing, closes it* nasa employee: a time loo- uh, we don’t have food in here…we can’t…eat in the control room, only the break-room. astronaut: *sighs* nasa employee:…my lunch is in like 10 minutes, though, and if my lunch is actually STILL THERE and not STOLEN, AGAIN, i can share it with yo- astronaut: nah, that’s ok…no time. *loading a pistol and getting back on the rocket-ship* or…too much time. but thanks, anyway. OK, bye! *alarm begins blaring* nasa employee: you’re…welcome? wait, a TIME LOOP?!