Alas, a Blog | Feminist, anti-racist, pro-fat, plus whatever else we feel like talking about.

Cartoon: Believing (Some) Women

Posted on June 20, 2023 by Ampersand

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This comic was drawn by a new collaborator, Kelly Lawrence. Kelly says:

My name’s Kelly, and I’m a comic artist and illustrator based in the Pacific Northwest. I love to use bold line and color, and I’m always excited to work with a subject matter that uplifts others.

I was drawn to this cartoon because I’m a firm supporter of sex workers and oppose how exclusive some feminists are about what women deserve to be respected. All women deserve to be listened to.

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As Kelly says, “some” feminists. That’s important – a strip like this isn’t meant as a knock on feminism in general, just anti-sex-worker feminism, or SWERFs (like TERFs, but with “sex worker” replacing “trans” in the acronym).

It’s curious that – in my anecdotal experience – most SWERFs are TERFs. There’s a horseshoe effect going on, in which the most (allegedly) radical feminists have wound up preaching the same sexual ethics as conservative Christians. Both SWERFs and conservative Christians frame sex workers as women who are victims, and if many sex workers don’t see themselves as victimized, it means they don’t know their own minds.

In an academic paper, feminist economist Victoria Bateman wrote about how SWERF thinking replicates “the cult of female modesty.”

Contrary to radical feminism, I will argue that it is society’s division of women into “good girls” and “whores”, where “whores” are deemed as undeserving of respect, which can often be found at the root of society-wide mistreatment of women. The radical feminist ambition—which seeks to abolish sex work—conspires in such thinking, fuelling “whore” stigma by suggesting that sex work is wrong, that no woman in her “right mind” would choose to do it (hence all sex workers can be cast as “victims”), and that sex workers are the (albeit unwilling) cause of the sins men inflict on other women. Rather than challenging the “cult of female modesty”, feminists conspire in its teaching.

If you have time and interest, the International Committee on the Rights of Sex Workers in Europe (ICRSE), a sex-worker-led umbrella group of various sex workers rights organizations in thirty-five countries, has published a terrific overview of the relationship between sex work and feminism. (It’s thirty pages long, a little dry and academic but totally readable). Like virtually all sex worker rights organizations, ICRSE advocates for decriminalization and ending stigma.

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TRANSCRIPT OF CARTOON

This cartoon has four panels. Each of the panel shows two young women in an outdoor area with trees and a paved walking path – maybe a college quad.

One woman, standing behind the table, holds a megaphone and is speaking out to the world in general. She has neck-length hair, fashionably choppy, and is wearing a blue hoodie over jeans and a gray shirt. (I’ll call her “HOODIE”.) Her table is surrounded by banners saying “real men don’t buy women” and “sex work is violence against women”; her table has stacks of pamphlets, as well as a thermos and some pens, and a little pop-up sign which says “prostitution is rape.” (Nice detail work from Kelly!).

The other woman is walking past in the first panel. She has her hair in a high ponytail, is wearing jeans and a pink t shirt, and is carrying a small purse. (I’ll call her “PONYTAIL.”)

PANEL 1

Hoodie is talking with conviction into her megaphone, throwing a fist into the air. Ponytail is walking by.

HOODIE (loudly): WE MUST ALWAYS BELIEVE WOMEN!

PANEL 2

Ponytail’s attention has been drawn, and she pauses and turns to face Hoodie.

HOODIE (loudly): WE MUST ALWAYS LISTEN TO WOMEN!

PANEL 3

Hoodie continues shouting with her megaphone, looking even more passionate. Ponytail, excited by what she’s hearing, holds her hands up and speaks to Hoodie.

HOODIE (loudly): BELIEVING WOMEN AND LISTENING TO WOMEN… THAT’S THE ESSENCE OF FEMINISM!

PONYTAIL: Yes! Exactly!

PANEL 4

Hoodie has swung her megaphone around and is yelling through it, right into Ponytail’s face; Ponytail winces back, looking surprised and annoyed.

PONYTAIL: I’m a sex worker and–

HOODIE (loudly): NOT WOMEN LIKE YOU.

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Believing (Some) Women on Patreon

Posted in Uncategorized | 20 Comments

Cartoon: How Sanctions Usually Work

Posted on June 1, 2023 by Ampersand

This cartoon is by me and Kevin Moore.

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Kevin writes:

Any time I can draw over-the-top, absurd violence with satiric intent is fun for me. I don’t like guns or violence in real life, but in fiction it can be silly or dramatic (or both), and maybe a little cathartic. The violence of governments is harder to exaggerate, because we take so much for granted yet there is so much more than we realize. The sanctions issue is a good example: the focus of discussion and media coverage is on the will of regimes and individual leaders, but the people themselves are ignored despite their suffering. We don’t measure it and we don’t want it to complicate our good intentions.

I don’t think sanctions are absolutely necessary or unnecessary— but beyond apartheid South Africa in the 80s and possibly the BDS movement, it’s hard to think of sanctions that have been effective. Russia does not seem deterred in its war against Ukraine, no matter how many sanctions the west imposes. Iran may have felt pressure by sanctions to join the treaty with the US under Obama, but after Trump scrapped it, I doubt they’ll bend to that kind of pressure again— not so long as the US can’t be trusted to hold up it’s end of the deal. Nonetheless our foreign policy will continue to rely on sanctions, because elites are oblivious (as always) and they don’t want to lose any tools they have.

I love the energy of Kevin’s cartooning here (panel two is my favorite). And I never could have drawn that gun so well!

I should mention that the funniest thing in this comic strip – the decapitated head saying “oh you shouldn’t have” – was made up by Kevin.

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Professor Francisco Rodríguez, in his paper “The Human Consequences of Economic Sanctions,” writes:

The evidence surveyed in this paper shows that economic sanctions are associated with declines in living standards and severely impact the most vulnerable groups in target countries. It is hard to think of other cases of policy interventions that continue to be pursued despite the accumulation of a similar array of evidence of their adverse effects on vulnerable populations. This is perhaps even more surprising in light of the extremely spotty record of economic sanctions in terms of achieving their intended objectives of inducing changes in the conduct of targeted states.

And blogger Daniel Larison writes:

Sanctions advocates often present using this weapon as a peaceful alternative to war rather than acknowledging that it is a different form of warfare, and they do this to make an indiscriminate and cruel policy seem humane by comparison. The illusion that economic warfare is a humane option makes it much easier for politicians and policymakers to endorse it, and the fact that the costs are borne by people in the targeted country makes it politically safe for them to support.

Unfortunately, sanctions seem to be an everlasting, untouchable policy in the U.S., supported by elites of both major parties. But we have to hope for change, and sheesh is this post a bummer.

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When I posted this cartoon on Patreon, I was taken aback to be accused of supporting Russia in Ukraine.

But being anti-Putin – to be clear, I loathe Putin & his government – doesn’t obligate me to support ineffective and inhumane policies.

The U.S. has imposed sanctions on over 20 countries since 1998; studies have shown that sanctions are ineffective at creating regime change (and are in fact counterproductive), and harm the worst-off people in the targeted countries, not the rich and powerful.

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TRANSCRIPT OF CARTOON

This cartoon has four panels. Each of the panels shows an Uncle Sam type figure – actually just a really muscular bald guy wearing a tight t-shirt and a tall stovepipe hat, decorated in an American flag motif. The t-shirt has an eagle design, similar to the eagle design on the official Great Seal of the U.S.A., on front, and a eagle-plus-stars-and-bars design on the back. Sam is holding what Kevin described to me as “a mashup of different hand held Gatling guns I found on a google image search. I went with what looked the most ridiculous.”

Uncle Sam is standing on a small hill. Across a field from the hill, Sam is facing a wealthy-looking man in a suit. The wealthy guy has well-cut black hair and a large mustache.

On the field between Sam and the Mustache dude is a crowd of ordinary citizens, men, women, and children.

PANEL 1

Sam, standing on the hill, is yelling at Mustache Dude. The people standing between Sam and Mustache Dude look around nervously.

SAM: Do what I want you to do OR ELSE!

MUSTACHE: Ha! Do your worst!

PANEL 2

A closer shot of Sam, macho scowl in place, as he points his gatling gun and blasts it. There are lots of ejected bullet casings flying through the air and a huge sound effect that says “BUDDA BUDDA BUDDA.”

SAM: Have some broad economic sanctions! BAM!

PANEL 3

A shot from behind Sam; he is continuing to fire the gun. We can see a bit of the terrified crowd between Sam and Mustache Dude. Mustache Dude is shaking a fist in the air and yelling back at Sam.

SAM: Give up or I’ll sanction you some more!

MUSTACHE: Screw you! We will never give in! NEVER!

PANEL 4

Sam is standing in the field, smiling, surrounded by bleeding corpses. Sam is holding up a decapitated head, smiling at it as he talks to it. In the background, we can see Mustache Dude across the field, completely unhurt, grinning with his arms folded.

SAM: Remember, I’m doing this to help YOU.

DECAPITATED HEAD (small): oh you shouldn’t have.

MUSTACHE: Sanction me some more! I DOUBLE DARE you!

LARGE CAPTION PRINTED ALONG THE BOTTOM OF THE CARTOON: How Sanctions Usually Work.

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This cartoon on Patreon

Posted in Cartooning & comics, International issues | 36 Comments

Cartoon: The Party of Small Government

Posted on May 27, 2023 by Ampersand

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This cartoon is drawn by Becky Hawkins.

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Each month brings new horrifying news of GOP-controlled state governments banning books and health care they don’t like. And we can (and should) argue against them on these issues, but at the same time, I’m not convinced the arguments matter. The GOP does these things because they have the power to, not because they have persuasive arguments.

For those of us outside of red states, it’s hard to know how to respond. I’m writing this on April 30, 2023. Tomorrow, the Oregon House of Representatives has scheduled “a Special Order of Business” for HB2002, a bill to expand and protect both reproductive and gender-affirming health care, for Oregonians and for people who come to Oregon. As far as I can tell, HB2002 is on track to become law.

Is that enough? No. But it’ll help some people, at least. “Maybe it’ll help some people at least” is so unsatisfying but some days it seems like all we’ve got.

In USA Today, Marc Ramirez wrote:

…an onslaught of legislation and rhetoric targeting transgender youth in recent years has prompted parents of transgender kids to ponder similar choices. Advocates say some have uprooted lives in states like Texas, Arizona, Alabama and Arkansas to find refuge in states they feel offer safer climates.

More than 300 anti-LGBTQ bills have been introduced in 2022, according to Human Rights Campaign, an advocacy organization based in Washington, D.C. Most aim to restrict the rights of trans people, largely trans youths’ abilities to participate in sports or receive gender-affirming care.

“This is a crisis,” said Kim Shappley, another former Texas resident parent who left the state with her transgender child this summer. “We have political refugees in the U.S., leaving with whatever they can fit in their car.”

Trans rights – and the ability for my trans friends to live their lives fairly openly and get the care they need – have advanced so much in my lifetime. I guess backlash was always inevitable, but that doesn’t mitigate the awfulness.

Abortion rights, of course, have been on the verge for decades. Now that Roe has been overturned, it’s like the sword of Damocles we’ve been waiting for has finally fallen. And when it fell it severed the country in two. The divide between blue and red states isn’t anything new, of course, but it seems that more and more very basic rights – the rights to control your own body – are depending on what state people happen to live in.

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When I wrote this cartoon, I remember being certain that it absolutely needed to be laid out as a stack of vertical panels, rather than our usual two-by-two grid.

I wish I had written down why, because now I don’t have the faintest idea why I thought that. Doing it this way really made it a pain to post on Twitter and Facebook and Instagram.

I wasn’t originally thinking of this as a Becky strip, but I’m glad I offered it to her. As well as being a good use of her facility for drawing different environments, there’s humor in the way she laid out the strip that I just love. The gratuitous manhandling of doctors in panels one and three especially cracks me up.

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TRANSCRIPT OF CARTOON

This cartoon has four panels. Each of the panels shows the same central character, a large white man – I’ll call him Big Man – with neatly combed brown hair, wearing a business suit with a red tie. When I say he’s “large,” I don’t mean he’s fat; I mean he’s powerfully built and about ten feet tall, looming high over all regular humans around him.

PANEL 1

We are in a standard doctor’s examination room, with all the usual accouterments. The large man has placed himself between a family (mom, dad, young teen) and a doctor. He’s pointing sternly at the teen, and facing that way, while his other hand is encompassing the doctor’s face as he pushes her back. The family looks horrified.

BIG MAN: No “gender affirming” care for YOU!

PANEL 2

We are in a school library; there are bookshelves and green beanbag chairs and a mural of green trees and sunshine covering one wall. A librarian sits at a desk, apparently interrupted in handing a book to a child. The Big Man, smugly smirking, is plucking the book away in his enormous hand, even as the child fruitlessly tries to grab it.

BIG MAN: Reading books? Not on MY watch!

PANEL 3

We’re now in the waiting room of a hospital or a large clinic. There’s uncomfortable looking plastic chairs, generic art on the walls, a receptionist at a desk, and a rope indicating where people can wait in line. In front of all that, Big Man has physically picked up a doctor by the scruff of his white doctor’s jacket, and is holding the doctor away from a teenage girl. With his other hand, he’s sticking his pointer finger into the girl’s face, as he talks to her with some anger.

BIG MAN: And I say you ARE going to have a baby!

PANEL 4

The Big Man is sitting in a room, with big patriotic red-white-and-blue banners hanging on the wall behind him. He’s sitting on a pile of people; if we look closely, we can see that these are all the people he’s been abusing in panels one through three. He’s smiling as he speaks, one hand waving grandly.

BIG MAN: We are so PROUD to be the party of SMALL GOVERNMENT!

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This cartoon on Patreon

Posted in Abortion & reproductive rights, Cartooning & comics, Conservative zaniness, right-wingers, etc., Homophobic zaniness/more LGBTQ issues, Lesbian, Gay, Bi, Trans and Queer issues, Transsexual and Transgender related issues | 3 Comments

Cartoon: The Transphobe Bait and Switch (aka The Transphobe Motte and Bailey)

Posted on May 25, 2023 by Ampersand

If you want to help us keep making these cartoons, my Patreon’s right here! And thanks.

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There’s this trick that transphobes – especially ultra “respectable” transphobes like J.K. Rowling – love to pull. They’ll say something enraging, over-the-top, and unquestionably vicious and bigoted. Or, if they’re more respectable (again, like J.K. Rowling), they’ll wait for some other transphobe to say something gross.

Inevitably, some trans people get angry. They’d have to be saints not to. And as soon as the bait is taken, the switch is pulled – “You see? You see? These awful trans people are mad just because someone said biology is real!”

Although I’ve edited for space and for making the words flow as dialog, the horrible things the fictional transphobe in my cartoon says are closely based on real things that well-known transphobes have said in real life. (I’ll post receipts at the bottom of this post).

Panel one’s dialog is based on things that Garnham Linehan, a former very successful Brit-com creator who is now a full-time anti-trans activist, has said.

Panel two’s dialog is taken near verbatim from Matt Walsh’s anti-trans documentary – a documentary which J.K. Rowling has praised.

Panel three’s dialog is a near verbatim quote from the late anti-trans activist Magdalen Berns. J.K. Rowling publicly supported Berns, which made trans activists and activists angry. Later, Rowling dishonestly claimed the anger was over Berns being “a great believer in the importance of biological sex who didn’t believe lesbians should be called bigots for not dating trans women with penises,” whitewashing how disgusting what Berns actually said was.

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I hesitated over publishing this cartoon, because the dialog is so nasty. I went ahead because I decided that this is part of what transphobes like Linehan, Walsh and Rowling depend on – that the worst things they say (or, in Rowling’s case, defend) will rarely be repeated, published, or attributed to them, because they are so horrible that no decent person wants to repeat it.

This lets them shamelessly play-act at being moderate, reasonable, and not at all hateful, even as they paint trans activists as being angry for no good reason.

A big nod to Natalie Wynn’s excellent video essay The Witch Trials of J.K. Rowling for inspiring this cartoon.

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TRANSCRIPT OF CARTOON

This cartoon has four panels, plus a little “content warning” panel above the top of the cartoon.

The little content warning panel shows a cartoon of Barry the cartoonist speaking directly to the reader.

CAPTION: Content Warning!

BARRY: This cartoon’s dialog is based on some hateful things respected real-life transphobes have said. Seriously, what’s wrong with these people?

PANEL ONE

Panels one through four show three people talking and walking through a park. From left to right, there’s a redheaded woman in a black skirt; a man with messy black hair wearing a plaid shirt; and a woman with long black hair, wearing a t-shirt with a drawing of the planet Saturn on it.

In panel one, REDHEAD looks smug; PLAID is yelling at SATURN, raising his hands in the air; and SATURN is walking away from the other two, looking irritated.

(Chicken fat watch: They’re walking near a stream, and a scuba diver and a fish are each sticking their heads out of the stream to watch. In the background, Walt from the comic strip “Gasoline Alley” is looking at a piece of paper.)

PLAID: The trans movement is one of the most evil movements in history! Puberty blockers are like Nazis experimenting on children in concentration camps!

PANEL TWO

A close-up of PLAID shows him yelling and waving his fists in the air.

PLAID: You’re child abusers! You prey upon impressionable children and indoctrinate them into your insane ideological cult. You are poison!

PANEL THREE

The “camera” pulls back out. REDHEAD continues looking smugly satisfied. PLAID is so angry that he’s pulling his own hair. SATURN has come to a stop, angered by what PLAID is saying.

(Chicken fat watch: Behind a bush in the foreground, Bert and Ernie are chatting with each other).

PLAID: Trans people are fucking blackface. You’re men who get sexual kicks from being treated like women. Fuck you, you pathetic, sick, fuck!

PANEL FOUR

REDHEAD and PLAID have turned and are now walking away from SATURN, who is well in the background, furious, swearing and giving them the finger. REDHEAD is talking cheerfully as she texts on her phone; PLAID is no longer yelling, but still looks angry.

(Chicken fat watch: A couple of huge worms are sticking their heads out of holes in the ground. One is looking wide-eyed at the characters, the other is grinning at the readers.)

REDHEAD: I’m telling people that trans activists are mad because you believe in biological sex.

PLAID: I was being so reasonable! “She” only got mad because she hates women.

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SOURCES

Panel 1:

“One of the most evil movements in history.” –Graham Linehan, responding to images of random trans activists with violent slogans like “Kill Terfs.” I don’t approve of slogans calling for violence – but you can find unrepresentative, marginal people in ANY movement saying disgusting things. I wouldn’t have bothered making this cartoon except that the people I’m criticizing aren’t random or marginal people; people like Graham Linehan and Matt Walsh are famous and have tons of followers.

“Graham Linehan compares doctors treating trans kids to Nazi experiments in concentration camps” –Pink News, February 11 2020.

Panel 2:

“During his speech, which he later featured in his film What is a Woman?, [Matt] Walsh said: ‘You are all child abusers. You prey upon impressionable children and indoctrinate them into your insane ideological cult, a cult which holds many fanatical views but none so deranged as the idea that boys are girls and girls are boys.'”

On Twitter, J.K. Rowling praised that same film, telling Walsh “your film did a good job exposing the incoherence of gender identity theory and some of the harms it’s done.”

Panel 3

On June 9, 2018, Magdalen Berns tweeted regarding trans women: “You are fucking blackface actors. You aren’t women. You’re men who get sexual kicks from being treated like women. Fuck you and your dirty fucking perversions. Our oppression isn’t a fetish you pathetic, sick, fuck.” The tweet was later taken down, but not until after it had been widely screencapped and quoted.

PANEL 4

J.K. Rowling later downplayed why trans people and allies had been angry at Bern, writing “However, as Magdalen was a great believer in the importance of biological sex, and didn’t believe lesbians should be called bigots for not dating trans women with penises, dots were joined in the heads of twitter trans activists, and the level of social media abuse increased.”

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This cartoon on Patreon

Posted in Bigotry & Prejudice, Cartooning & comics, Transsexual and Transgender related issues | 7 Comments

Cartoon: Media-Man To The Rescue!

Posted on May 24, 2023 by Ampersand

If you like these cartoons, consider supporting the Patreon! A $2 pledge makes a big difference.

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Hi! Sorry for the long pause in cartoons – I pulled a muscle in my right shoulder (I’m right-handed) and could barely move it for about a month. Even once I could move it, I didn’t draw until the shoulder was completely better, because I was worried I could cause a setback.

Also, I avoiding typing much, and honestly my concentration while all that was going on was not the best. No drawing, no writing, no Beat Saber – it was a very boring month for me, and I don’t recommend the experience, one star review on Yelp.

Everyone I talked about my shoulder issue to asked the same question – “what happened? What did you do?” And the frustrating truth is, I have no idea. Maybe I just slept on it wrong? If my shoulder would only speak clearly and tell me what it is I did, I’d try not to do it again, but it just has terrible communication skills.

This is, at least, an advantage of me charging per cartoon rather than per month – none of you were charged for March, since I didn’t post any cartoons. Let’s hope this month is better! (I mean, it’s already better, because here I am, posting a new cartoon.)

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Judd Legum in The Guardian writes a tale of two crimes:

In the United States, only certain types of theft are newsworthy.

For example, on 14 June 2021, a reporter for KGO-TV in San Francisco tweeted a cellphone video of a man in Walgreens filling a garbage bag with stolen items and riding his bicycle out of the store. According to San Francisco’s crime database, the value of the merchandise stolen in the incident was between $200 and $950.

According to an analysis by Fair, a media watchdog, this single incident generated 309 stories between 14 June and 12 July…. The theft has been covered in a slew of major publications including the New York Times, USA Today and CNN.

Just a few months earlier, in November 2020, Walgreens paid a $4.5m settlement to resolve a class-action lawsuit alleging that it stole wages from thousands of its employees in California between 2010 and 2017…. So this is a story of a corporation that stole millions of dollars from its own employees. How much news coverage did it generate? There was a single 221-word story in Bloomberg Law, an industry publication. And that’s it.

Media considers white-collar crime – no matter how consequential – boring and unreportable. Meanwhile, crimes like shoplifting and fare-jumping are endlessly fascinating to reporters and editors.

The result of this is a pattern in which crimes typically committed by rich people are barely acknowledged, no matter how many millions are involved, while crimes typically committed by poor people are put in the spotlight. The media paints a very deceptive picture, and unfortunately, many Americans are fooled.

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The main character of this cartoon was so much fun to draw! I don’t get to draw superhero bodies that often, and it’s a fun challenge. And I think the TV-screen head is visually striking and hilarious (although who knows if any of you will agree). I wouldn’t be surprised to see this character show up again.

The one thing that disappointed me is that there were no close-ups, so I couldn’t do any chyron gags (the lettering would have been too tiny to be read). Another reason to bring this character design back!

When I did my first pass at penciling the superhero character, I tried drawing him with carefully rendered and specific muscles. You know – like a superhero. But he looked weird and stiff, especially in the panels where he’s interacting with other characters. On the next pass I tried to make him smoother and cartoonier, with big swooping lines, and I was much happier with the results.

I really dreaded drawing a cityscape at first, because I was planning to draw the buildings realistically (why is that always my first impulse), and that sounded boring. Eventually I jettisoned that entire approach and instead tried to draw the city in a fun, jazzy style. There are definitely a zillion cartoonists who draw better cityscapes than me, but I had fun.

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TRANSCRIPT OF CARTOON

This cartoon has five panels, plus an extra tiny “kicker” panel below the bottom of the strip.

PANEL 1

A superhero – in a classic blue-and-red outfit, a bit like Superman’s – is flying over a city, his arms extended in front of him. But instead of a head, he has a big flatscreen TV on top of his neck. The TV screen is showing a head-and-shoulders shot of a news anchorman type, wearing a brown suit and tie.

This character is Media-Man.

MEDIA-MAN (here and also in all the other panels, Media-Man speaks from the TV screen): Bored bored bored… If only there were some crime I could report!

PANEL 2

Media-Man looks downward, excited and glad, as a voice calls out from below.

VOICE: Media-Man! Help! I’m being robbed!

MEDIA-MAN: Yay!

PANEL 3

Media-Man is coming down for a landing on a sidewalk. Two women are on the sidewalk looking up at him. One of them is wearing a red tank top, a skirt, and sneakers. The other, who looks annoyed, is dressed more expensively, in a suit and heels.

TANK TOP: Media-Man! Thank god you’re here! My boss is refusing to pay me for all the hours I worked!

PANEL 4

Media-Man, an annoyed expression on his TV screen, holds up a palm in a “don’t bother me with this” gesture. The woman in the tank top is bewildered by Media-Man’s indifference, while the woman in the suit looks pleased.

MEDIA-MAN: Wage theft? Boring! I’m not gonna report on that!

TANK TOP: But– Wage theft costs $15 billion a year?

PANEL 5

Media-Man is once again flying high above a city. He looks bored, and is yawning, with one hand held over the mouth area on his TV screen. The voices of unseen people are coming up from below, but Media-Man pays them no attention.

VOICES (there are four voices, and they all say the same thing): Help! Wage theft!

TINY KICKER PANEL BELOW THE BOTTOM OF THE COMIC STRIP

Media-Man, still looking annoyed, is talking to Barry (the cartoonist).

MEDIA-MAN: I only report important crimes! Like shoplifting!

This cartoon on Patreon.

Posted in Cartooning & comics, Media criticism | 5 Comments

Cartoon: Rationing Health Care

Posted on April 21, 2023 by Ampersand

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A common objection to single-payer health care in the US is that it would lead to health care being rationed. And I wonder, in what parallel universe do they live where the US isn’t already rationing health care?

Americans who can’t afford health care get pushed to the back of the line – or entirely out of the line. That’s rationing.

From an article on the Commonwealth Fund‘s website:

While other countries may ration because of national budget constraints and supply-side factors, the United States’ lack of access to comprehensive insurance and affordable care represent a de facto form of rationing that leads people to delay getting care or going without it entirely. […]

In a recent Commonwealth Fund survey, fewer than one of 10 patients in the U.K., Germany, the Netherlands, or Sweden reported skipping needed care or treatments because of cost. This contrasts sharply with the U.S., where one of three Americans reported the same. […] While nearly one of five U.S. adults skip doses or do not fill a prescription because of costs, just 2 percent to 9 percent of patients do so in the other countries discussed here.

We shouldn’t be arguing over if we’re going to have rationing, because we are. Rationing is basically unavoidable. The real argument should be over what form our rationing will take. And our current form – rationing health care by class – is particularly cruel and inefficient.

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For me, drawing for a living is an odd combination of going “wow, this looks really great” and also despairing “why can’t I draaaaw?” And often that’s over the exact same artwork! I’m continually frustrated by my lack of drawing ability and also a total egotist who loves looking at my own work.

This may be a necessary contradiction. If I didn’t see the (glaring enormous horrible) flaws in my drawings, I wouldn’t have any drive to improve. But if I didn’t get pleasure from my own drawings, doing this for a living would be horrible. So it’s about achieving some sort of balance.

In this cartoon, I think my favorite bit of drawing is that we can see the street stripes through the hole in the chest of the character in panel two. I think it looks neat and also makes it more visually obvious that he’s got a hole there.

I’m also pleased that no two characters in the strip are wearing the same shoes – although in a way that’s a waste of my drawing time, since it really doesn’t make a difference to how readers experience the comic.

I’m least pleased by everything in panel one. Her hair looks stiff and wrong and not-hair-like, and the background is lacking in detail or personality – it could be a stage set. And although I worked hard at the dog – I spent more time trying to get that dog right than I did on any other figure in this cartoon – I’m still not happy with it.

Should I go back and redraw it? Or say good enough, move on, there are other panels to work on? For panel one, I said “good enough.” It’s pleasant looking enough and it carries the storytelling.

In panel three, on the other hand… I originally drew the seated character with a leg that was bent in too many places.

But I began worrying that readers would miss that detail. I mean, some readers will always miss some details – that’s unavoidable – but the fewer readers miss important storytelling details, the better. In the end, although I’d finished everything but the colors, I erased the leg and redid it. I think the new version is more obvious.

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The week I was working on this cartoon, I was waiting at a bus stop and noticed a single boot lying on the ground. This happens now and then, and I always wonder how someone came to lose a single boot. As you can see, that was on my mind when I drew the boot in panel four.

Those are the sort of details that I don’t expect most readers to notice. They’re there as a sort of reward for readers who like looking closely for details. The cartoonist term for these little, funny, but irrelevant details is “chicken fat.” The term was coined by Harvey Kurtzman and Will Elder, two of the best cartoonists who have ever laid ink to paper.

In an interview, Elder said:

I don’t really recall where we first started referring to, what Harvey called, my “chatchkies”, extra gags, as “chicken fat.” But I think the term just came out of what we both knew were the parts of the strip that gave it more flavor but did very little to advance the storyline. That’s what chicken fat does…it advances the flavor of the soup and, as we all know now, too much chicken fat will kill you!

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Thanks to those of you who support my patreon and making it possible for me to do things like draw cartoons and feed my cat (although if you asked my cat, she would tell you that she’s never been fed, never EVER not even once, but my cat is a liar.)

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TRANSCRIPT OF CARTOON

This cartoon has four panels. Each panel shows a different scene.

PANEL ONE

A woman with spikey hair is standing in her living room. She’s holding a hand to her cheek, and lots of cartoon “pain stars” are floating near her cheek. She’s wide-eyed and unhappy looking as she speaks into her cell phone. A dog sits on the floor nearby, looking at the woman adoringly.

WOMAN: What’s the point of an insurance plan that doesn’t cover dental?

VOICE FROM PHONE: We only cover essential treatments. Teeth aren’t that important.

PANEL TWO

Two people, a man and a woman, are on a city sidewalk. They are both looking with bewilderment at an enormous, unnaturally perfect hole in the man’s chest (it also goes through his tee shirt).

There’s litter on the sidewalk, including a newspaper called “The Cartoon Times” with a big headline saying “Man Reads Background Gag.” (I’d normally use an androgynous word like “person,” but the space was so tiny I had to opt for the three-letter word. :-p )

WOMAN: You should see a doctor about that.

MAN: Too expensive. Maybe it’ll get better by itself?

PANEL THREE

A woman wearing a black tank top and jeans sits on a sidewalk. She’s got very short, spikey hair and tattoos (including tattoos of Snoopy and Lucy). One of her legs has fallen off mid-calf; she’s got a bone sticking out, and her foot and the lower half of her calf (still in jeans) are lying on the street in front of her.

She grinning, trying to be cheerful, but she’s wide-eyed and sweating. She’s holding out one palm in a “no need” gesture.

Two emergency medical technicians in uniform are staring at her, surprised. In the background we can see their ambulance. Near the top of the ambulance, the company’s motto is printed: “We move broken peeps.”

WOMAN: I can’t afford an ambulance. I’ll just walk.

PANEL FOUR

Two women walk through a hilly park. There are trees in the background, a bush in the foreground, and a tree stump (Woodstock from Peanuts is standing on the stump). A single abandoned boot lies on the ground.

The first woman, blond with neck-length hair and waring shorts and a button-up short sleeved shirt, is in a panic. The second woman, wearing a hoodie and flip-flops, is rolling her eyes.

FIRST WOMAN: Universal government-paid health care? That’d be HORRIBLE! We’d have to start RATIONING HEALTH CARE!

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Rationing Health Care | Barry Deutsch on Patreon

Posted in Cartooning & comics, Health Care and Related Issues | 36 Comments

Link Farm and Open Thread, T Rex Lips Edition

Posted on March 31, 2023 by Ampersand

Banning LGBT+ content will not make you happy…
“… your actual problem is that you can’t stand the fact that people who are not you can be happy.” Thanks to Grace for the link!
It Only Takes One Parent to Get All The Graphic Novels Removed From a School Library
“All graphic novels in the school library’s collection were recalled after parent Tim Reiland took issue with the school letting his teenage daughter borrow Blankets, an autobiographical coming-of-age story by Craig Thompson about questioning blind faith in a fundamentalist Christian household.”
Parent Calls Bible ‘PORN’ and Demands Utah School District Remove It From Libraries
“I thank the Utah Legislature and Utah Parents United for making this bad faith process so much easier and way more efficient.”
Parents raise concerns as Florida bans gender-affirming care for trans kids.
“… you’re basically being told that your child shouldn’t be able to be who they are, and that it would be better if they didn’t exist in the way that you, medical professionals, and the child who is thriving, feel is best for the child.”
Rebuilding the Closet – An und für sich
“The political strategy of the “closet” was to require those people who exist in the more liminal spaces to hide, then relentlessly stigmatize and persecute the people for whom conformity was simply never going to be an option.”
After train disaster, Tucker Carlson falsifies East Palestine’s plight – The Washington Post
“Ever since the Feb. 3 disaster, Carlson and his comrades have sought to transform East Palestine’s plight into a tale about “woke” Democrats abandoning White communities in the virtuous, forgotten heartland.”
He deported thousands of people at the border, then learned he was undocumented | CNN
He seems to have no regrets about his own actions, though; he just thinks it’s unfair that HE gets deported because he’s a veteran.
‘Shuffle Along’ and the Lost History of Black Performance in America
Excellent long essay about the groundbreaking 1921 musical with an all-Black creative team, the recent sort-of revival of it, and the history surrounding the 1921 musical. The best essay I’ve read this year by the author of one of the best essays I’ve ever read, “The Ballad of Geeshie and Elvie.” (Alternate link.)
An Overlooked Detail in the Scott Adams and Dilbert Story
The okay sign, “it’s okay to be white,” and white supremacists.
Fascinating thread from Amanda Knox about how she came to accept her life as a falsely convicted person in prison.
The obsession cis people have with trans people’s genitals is out of control | Xtra Magazine
“Mistaking “jeans” for “penis” is an easy thing for someone’s brain to do when it’s obsessively focusing on the latter word.”
Stop Saying We Only Bailout the Rich
“In wake of massive pandemic spending, it’s inaccurate economics – and it’s also dumb, terrible political messaging.”
Why Is The Latinx Debate So Fierce?
“Whether the terms Latinx and Latine become widely adopted or not, both resist the urge to fall in line with the collective “o” in Latino and both enforce the idea that trans people do, in fact, exist in our communities.”
What is life? Scientists still can’t agree.
My takeaway: The Amazon Molly is cool.
T rex had lips. (Maybe.)
“A new study says the T. rex family looked more like lizards, with scaly lips covering and sealing their mouths when closed.” But some scientists disagree! This is an area of passionate debate, which I find delightful.
The photos are by David Clode and Ray Harrington, and were found on Unsplash.

Posted in Link farms | 21 Comments

Cartoon: Being Foxy About Vaccines

Posted on March 12, 2023 by Ampersand

TRANSCRIPT OF CARTOON

This cartoon has four panels. All four panels show the anchors of a conservative news show, a man and a woman, both of whom are well-dressed and have very carefully styled hair. They're sitting at a news desk and talking to the camera, with a backdrop of a cityscape behind them. A chyron (text) runs across the bottom of the screen.

PANEL 1

We're in a darkened living room. We can see a TV dinner, partly eaten, on a tray in the foreground; in the background is a TV, surrounded by a liquor cabinet on the left and a houseplant on a chest of drawers on the right. The TV is turned on, providing the only bright colors in the panel. The male anchor is making air quotes with his fingers, while the female anchor is holding out her hand in a "stop!" gesture.

MAN: Unelected government “doctors” say we need this “vaccine.” but what aren’t they saying?

WOMAN: Don’t trust government! Don’t trust doctors!

PANEL 2

We are now seeing just what's on the TV screen. The male anchor has turned towards the female anchor and is speaking to her, one hand waving in a sort of "angry questioning" motion. The female anchor has folded her hands on the desk in front of her and is speaking directly to the camera.

MAN: Who knows what horrible side effects these experimental “vaccines” have?

WOMAN: Stay tuned! We’ll be back in just a minute!

PANEL 3

Our vantage point has pulled back. We're now obviously in a TV studio; we can see cameras and microphones pointing at the two anchors, and the slightly-raised platform the anchor desk sits on. There's a large bright green screen behind them, instead of a cityscape.

Two people in nurse's scrubs, both wearing face masks, have come up to the desk. Both anchors have taken their jackets off, and he's rolled up a sleeve (her blouse is sleeveless). The nurses are injecting medicine into their arms.

The male anchor is smiling cheerfully, while the female anchor speaks to her nurse with a concerned expression.

MAN: Thanks. Better safe than sorry, right?

WOMAN: How long until the booster after this one?

PANEL 4

We're once again looking at them as they appear on a TV screen; the cityscape backdrop is back. They're both looking angry and gesturing towards the screen with extreme foreshortening; he's holding a finger up near the screen, and she's pointing straight at the screen like Uncle Sam.

MAN: These “needle Nazis” are trying to force you to take their so-called “vaccine”!

WOMAN: DON'T LET THEM!

CHYRONS

What the chyrons (the crawl of text across the bottom of the TV screen) say. (The second line of each chyron is cut off on one or both sides of the screen, to simulate the words scrolling across the screen.)

Panel 1: EXPERTS: VACCINE WILL KILL POPE

...t's gonna happen any day now we're triple sure this time...

Panel 2: DELILAH INNOCENT!

...vaccine, not haircut, caused Samson to lose his streng...

There's no Chyron in panel 3.

Panel 4: ARE VACCINES FULL OF LIVE ANTS?

...re not saying they are but we're not saying they aren't...

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This cartoon is a collaboration with Becky Hawkins.

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Nearly all Fox staffers vaccinated for Covid even as hosts cast doubt on vaccine | Fox News | The Guardian

The vast majority of employees at Fox Corporation, the umbrella company for the conservative Fox News channel, are vaccinated against coronavirus and those who are not will be required to do daily testing, according to a memo sent out from bosses – despite some of its biggest screen stars questioning the vaccine.

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I think I wrote this cartoon about a year ago. But Fox’s disdain and deception of its audience has been in the news again this month (which is February 2023 as I write this).

The most prominent stars and highest-ranking executives at Fox News privately ridiculed claims of election fraud in the 2020 election, despite the right-wing channel allowing lies about the presidential contest to be promoted on its air, damning messages contained in a Thursday court filing revealed.

It’s become clear that Fox is afraid they’ll lose their audience if they don’t lie to them. Which is another reason that for-profit news may not be a great idea. If a primary goal is profit, and lying is necessary to maintain profits, then why wouldn’t a news station lie to its audience?

And the more they lie – the more that their audience grows to expect comforting lies – the less able FOX is to stop lying. Reporting the news isn’t their goal; not losing their audience to Newsmax is their goal.

But as bad as market-driven news is, government-dominated news can be even worse – just look at how the news works in Putin’s Russia, or in Viktor Orban’s Hungary. This may be one of those “all systems can be terrible” situations.

Do you have a news site that you think is fair and reliable? Feel free to post what it is in the comments.

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Becky: “My soundtrack for drawing this one was the audiobook Bellwether, by Connie Willis (which is a fun time!) and the first couple hours of Empire of Pain: the Secret History of the Sackler Dynasty (which is not fun, but is interesting so far!).”

Barry: Wow, isn’t the art beautiful? I especially love panel one, with the details of the dimmed room surrounding the TV.

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TRANSCRIPT OF CARTOON

This cartoon has four panels. All four panels show the anchors of a conservative news show, a man and a woman, both of whom are well-dressed and have very carefully styled hair. They’re sitting at a news desk and talking to the camera, with a backdrop of a cityscape behind them. A chyron (text) runs across the bottom of the screen.

PANEL 1

We’re in a darkened living room. We can see a TV dinner, partly eaten, on a tray in the foreground; in the background is a TV, surrounded by a liquor cabinet on the left and a houseplant on a chest of drawers on the right. The TV is turned on, providing the only bright colors in the panel. The male anchor is making air quotes with his fingers, while the female anchor is holding out her hand in a “stop!” gesture.

MAN: Unelected government “doctors” say we need this “vaccine.” but what aren’t they saying?

WOMAN: Don’t trust government! Don’t trust doctors!

PANEL 2

We are now seeing just what’s on the TV screen. The male anchor has turned towards the female anchor and is speaking to her, one hand waving in a sort of “angry questioning” motion. The female anchor has folded her hands on the desk in front of her and is speaking directly to the camera.

MAN: Who knows what horrible side effects these experimental “vaccines” have?

WOMAN: Stay tuned! We’ll be back in just a minute!

PANEL 3

Our vantage point has pulled back. We’re now obviously in a TV studio; we can see cameras and microphones pointing at the two anchors, and the slightly-raised platform the anchor desk sits on. There’s a large bright green screen behind them, instead of a cityscape.

Two people in nurse’s scrubs, both wearing face masks, have come up to the desk. Both anchors have taken their jackets off, and he’s rolled up a sleeve (her blouse is sleeveless). The nurses are injecting medicine into their arms.

The male anchor is smiling cheerfully, while the female anchor speaks to her nurse with a concerned expression.

MAN: Thanks. Better safe than sorry, right?

WOMAN: How long until the booster after this one?

PANEL 4

We’re once again looking at them as they appear on a TV screen; the cityscape backdrop is back. They’re both looking angry and gesturing towards the screen with extreme foreshortening; he’s holding a finger up near the screen, and she’s pointing straight at the screen like Uncle Sam.

MAN: These “needle Nazis” are trying to force you to take their so-called “vaccine”!

WOMAN: DON’T LET THEM!

CHYRONS

What the chyrons (the crawl of text across the bottom of the TV screen) say. (The second line of each chyron is cut off on one or both sides of the screen, to simulate the words scrolling across the screen.)

Panel 1: EXPERTS: VACCINE WILL KILL POPE

…t’s gonna happen any day now we’re triple sure this time…

Panel 2: DELILAH INNOCENT!

…vaccine, not haircut, caused Samson to lose his streng…

There’s no Chyron in panel 3.

Panel 4: ARE VACCINES FULL OF LIVE ANTS?

…re not saying they are but we’re not saying they aren’t…

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Being Foxy About Vaccines on Patreon

Posted in Cartooning & comics, Media criticism | 62 Comments

Cartoon: Sheeple!

Posted on March 5, 2023 by Ampersand

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It occurs to me that maybe not all of my readers are so immersed in online right-wing culture that they’re familiar with the word “sheeple.” So, just in case: Merriam-Webster defines sheeple as “people who are docile, compliant, or easily influenced: people likened to sheep.”

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I’ve got a treat for you today: Writer, artist, and comics scholar Frank M. Young, who colors around one-fourth of these cartoons (this one included) agreed to write a few words about his coloring process. And heeeeeere’s Frank!

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Not-so-Brief Thoughts on Coloring, by Frank M. Young

I have been coloring Barry’s cartoons since the middle of 2020. I think I’ve done two dozen or so by now. Working with color is something that’s compelled me since my Crayola days and I do much observation of real life and how color always seems to fit together in manmade and natural settings.

My first coloring work in comics was in 2001, when artist David Lasky and I did our first sample pages for our graphic novel “The Carter Family: Don’t Forget This Song,” which we worked on for five years and Abrams ComicArts published in 2012. I fell in love with the process, which is fortunate, because it’s painstaking and demanding. It’s not a good fit for impatient temperaments. The devil is in the details and in how to balance all the graphic elements. I often do microscopic work that I know few people will ever notice–but it’s got to be there.

I have also colored the work of classic cartoonist Rube Goldberg, “New Yorker” cartoonist Harry Bliss, alt-comics creator Carol Lay and author-artist Cindy Copeland.

Barry’s cartoons are always a joy to color. Barry will often have ideas about the approach he’d like, and will give me information about the characters that’s never stated in the cartoons but helps me get a handle on who they are. I sometimes do the colors with a limited palette rather than representational hues. The content and setting of each cartoon suggests the approach I might take.

I sometimes start by choosing the colors for all characters, settings and backgrounds. Other times I’ll just wing it and see what happens. In either case, I make a new layer in Adobe Photoshop and get going. To place the colors, I use a “magic wand” selection tool, among other Photoshop tools, to traverse the area and fill it in. I color much brighter than the final versions you see. It helps me to better see how the colors contrast. A lot of coloring comes down to warm colors versus cooler tones. The color scheme for eash character has to harmonize. They also must stand out from the often-elaborate backgrounds so the reader gets what’s happening with ease.

The characters share their own layer; there’s a middle layer that is a mix of foreground and background images and then a final background base. On top of it all are layers of shadows and highlights. Those have become my favorite part of the coloring process. For the shadows, a layer of transparent gray is used, and I choose areas, based on Barry’s artwork, to give the images a sense of volume. It’s like magic to see those grey tones come into the image. These contours are complex and there’s some trial and error until I know they’re working right. It’s the same routine with the highlights. These elements support the drawings and complement what is already there.

Sometimes a character’s demeanor suggests colors. In today’s cartoon, the opinionated guy at the bar has a provocative nature, so I gave him red hair. He reminded me of a red-headed fellow from high school who was outspoken and opinionated. The reds and yellows seemed natural for his personality.

The biggest challenge was the bar setting. I kept trying color combinations and none of them felt right. I finally decided to visit a seedy lounge near my house. I walked in, scoped out the color combinations in the place and got a bunch of surprised stares from the habitues of this suburban den. I noticed that the decor was brightly colored to offset the general gloom of the place. I made mental notes and zipped back home. Another decision was the time of day. I first tried a night-time look with dark windows. This was too murky. Mid-afternoon light gave me the look I wanted–everything in the room reads much better. When the images in the panels feel like a real place to me, I know I’ve got it.

When I think I’m done, I double-check everything. Sometimes I’ll catch things I missed, like shadows going in the wrong direction or uncolored parts of bodies or scenery. Or there might be a sloppy bit of digital painting I don’t like. Then I mute the colors, take a last look and if it feels right, I send it to Barry. He will sometimes ask for modifications–the goal is to get each cartoon looking its best and for my colors to support the hard work Barry has done in writing and drawing each piece.

I always enjoy getting a new cartoon and going through this process. I try to set challenges for myself and to learn something new each time. In this cartoon, the framed pictures of Muppets are painted in a 1970s-style of loose, scratchy color. I sampled a dozen different digital brushes before I found the right texture and did those colors in transparent tones that suggested a hasty watercolor painting. Those were fun to do and I hope anyone who notices the background stuff will enjoy seeing it. The message of each cartoon is most important and I enjoy the variety of places and faces that inhabit the point of them all.

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A public thanks to Frank – both for writing that up for us, and for all the work he does on these cartoons.

For which, of course, Frank is paid. So thanks as well to all of you who are supporting my Patreon – I’m really proud that I can pay my collaborators the professional rates they deserve for their skills, and the reason I can do that is your support.

Extra thanks on the sidebar go to my mom, Toby Deutsch, who has been supporting these cartoons from the beginning (and honestly, since I first began drawing). Thanks mom!

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Edited to add: Todd Elner pointed out this hilarious XKCD comic with a similar theme.

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TRANSCRIPT OF CARTOON

This cartoon has four panels. The setting is a bar; there’s a bar counter, patrons, framed pictures on the wall, a big window with the word “BAR” painted on it (it looks backwards, because we’re seeing it from the inside). For those who look closely at the little details, we can see that the people in the framed pictures are characters from The Muppet Show: Dr. Bunsen Honeydew, Beaker, and the Swedish Chef.

PANEL ONE

A red-headed man holding a beer is sitting at the bar ranting to a woman at the bar on his right. He’s dressed casually, in a ringer t-shirt. He doesn’t see that behind him, a man is walking up. The man is an anthropomorphic sheep, wearing a collared shirt and necktie with the collar unbuttoned and the necktie pulled down a bit, The Sheep speaks angrily, holding up an objecting forefinger.

REDHEAD: SHEEPLE! Liberals are SHEEPLE! They’re AFRAID to think for themselves!

SHEEPLE: HEY!

PANEL TWO

The redheaded man has turned to face the sheeple, and pulls back in total surprise. The sheeple continues to chew him out angrily.

REDHEAD: Oh! Um…

SHEEPLE: Stop spreading STEREOTYPES about SHEEPLE! I think whatever I want.

PANEL THREE

In a close-up shot of the sheeple, which was ridiculously fun for me to draw, abnd Frank told me it was fun for him to color too, the sheeple looks soulful and sad, rubbing his head with one palm.

SHEEPLE: It’s so EXHAUSTING, hearing the same bigoted NONSENSE about sheeple every day…

PANEL FOUR

The redheaded man is frantically apologizing. The Sheeple seems less mad – he’s no longer yelling – but he still looks angry, crossing his arms as he talks to the man.

The sheeple doesn’t see that, behind him, a chicken woman has approached. She’s wearing a dress with a pattern of eggs on it, and looks angry, with her arms akimbo.

REDHEAD: I didn’t MEAN–

SHEEPLE: Just because I’m a SHEEPLE doesn’t make me a CHICKEN!

CHICKEN: HEY NOW!

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Sheeple! on Patreon

Posted in Cartooning & comics | 5 Comments

Cartoon: Someday I’ll Be Rich

Posted on March 4, 2023 by Ampersand

It’s the American Dream!

Not every American is like this, or even most Americans. But it’s a type of person I’ve met, and probably you’ve met them as well – people who just believe that someday they’ll be rich, as if it’s part of a natural life course. It’s an expectation that underlies all of their life plans, and – I think – can make it harder for people to appreciate what they do have. (Or to realize that we need social support systems for the vast majority of us who will never be billionaires.)

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I love strips where I get to draw the same character at different ages. (One of my favorite strips I’ve done features myself drawn at different ages.) It’s a fun challenge for me, and one that concentrates more on character drawing – my comfort zone – than on environments.

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This is a cartoon that I really think Frank Young’s colors add a lot to. Especially in the final panel – all those shadows on the ground are Frank’s work, and they make that panel much more evocative. I love it when collaborators surprise me like that.

When Frank first began doing colors on my strips (he colors about one strip a month for me), I asked him to emulate my approach to coloring (which involves fewer and less realistic colors).. But over time, I’ve come to trust Frank more and that gives him more freedom to color in his own style. (Or maybe it’s a mix of my style and his – I suspect Frank’s using flatter colors on my work, knowing that’s my preference, than he might on someone else’s work or his own.)

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TRANSCRIPT OF CARTOON

This cartoon has four panels.

PANEL ONE

A teenager is sitting in a diner booth, smiling and talking directly to the reader. He has messy red hair and a brightly striped t-shirt. There’s a plate of food on the table in front of him, and a sign taped to the wall behind him says “Wanted: Background gag writer – low pay.”

REDHEAD: Someday I’ll invent something BIG! Like a cure for cancer or an app everyone uses… And then I’ll be so RICH!

PANEL TWO

A smiling adult man – somewhere in his thirties or forties, probably – stands in what looks like part of work building of some sort, probably an office, and speaks directly to the reader.

He’s an older version of the teen in panel one – he’s still got the red hair and round face, but now the hair is neatly combed in a part, and he’s got a van dyke beard and mustache. He’s wearing an izod shirt with a sedate stripe.

We can see an elevator in the background, and a water cooler next to him. (There’s a goldfish swimming in the water cooler).

REDHEAD: Or maybe I’ll win the lottery… people win every day! Or a rich relative I don’t know about will die leaving me BILLIONS!

PANEL THREE

The same red-haired man speaks to us again, but now he’s a senior citizen – he’s bald on top and his face is much more wrinkled. He’s wearing a button-up sweater open over a collared shirt, and he’s carrying a cane. He’s still smiling.

He appears to be at home – there’s a floral-patterned armchair behind him, and a decorative vase on a little table in front of a window. Outside the window is a tree and also a suspicious looking man wearing an old-fashioned hat and hiding behind a bush. (The suspicious looking man has no importance at all to this cartoon). There’s a framed photo of Albert the Alligator from “Pogo” on the wall.

REDHEAD: Lots of people get rich! Sooner or later it’s BOUND to be MY turn! And THEN the life I deserve will begin!

PANEL FOUR

We’re looking at a graveyard. A gravestone front and center says “R.I.P.” on it, and a thought balloon is coming from the grave.

THOUGHT FROM GRAVE: Any day now…

That’s the end of the comic strip, but there are some irrelevant details carved on headstones. The main headstone, under the big “R.I.P.” letters, says in much smaller letters: “Blah blah blah no one reads this.” A gravestone further in the background says “Hi There. I am past my expiration date.” Another one says “Dead Tired” and another one says “Here Lies Melvin.”

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Someday I’ll Be Rich! | Barry Deutsch on Patreon

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