Cold drives off the bugs.
We shiver, but no bug bites
afflict our bonfire.

Cold drives off the bugs.
We shiver, but no bug bites
afflict our bonfire.
This is one of the images I used in Scragamuffin, the chapbook I released as October’s exclusive Patreon reward. I thought it might be fun to release the pictures with the photos that inspired them.
Pete was a pretty large cat. This is a substantial-sized mixing bowl which explains how he got into it, but the way his fur spills over the edges makes it look like the bowl is much too small. I think he looks like a cupcake.
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Although the lies in this comic strip are sometimes exaggerations, none of them were made up out of whole cloth. There really are millions of Republicans who believe these things. The Big Lie has become The Big Spreadsheet of Lies.
This is something I think about a lot lately. There must be some way to talk to Republicans about reality that they can hear. I hope.
(This cartoon isn’t such a way, obviously.)
As my longtime readers have probably noticed, over the years I’ve done many comic strips which are basically panel after panel of different, often wacky-looking people talking straight to the reader.
One reason is that I like doing cartoons about patterns – cartoons that try to look at problems as spread across society, rather than being just one problematic individual. This “survey” approach to a comic strip is one way of getting at that.
But another reason is, cartoons like are ridiculously fun to draw.
The throw-off gag in panel one is there because the word “Republican” is so long, which limited how big the font could be while still fitting the word more-or-less in the panel. That meant that – unless I made the “5” even bigger – I had a dead space at the bottom of panel one.
So I threw in a quick little gag with a little self-portrait of me. It was the last thing I wrote or drew, and it took much less time and effort than any of the other panels. Naturally, when I showed my housemate the cartoon-in-progress, that’s the bit he laughed the longest at. As Billy Pilgrim might say, “so it goes.”
Usually I gender-balance my cartoons much better than this one, which shows four men and one woman. (I think the man in panel 4 was a woman in my original conception, but while I was drawing it I thought a big mustache would be fun).
How bad a mistake do folks think this is? Should I redraw a panel? I’ll do better next time I do a cartoon in this format.
TRANSCRIPT OF CARTOON
This cartoon has six panels. Each of the panels shows a white person speaking, usually to the reader. Every other panel has either a tan or a blue dominant background color, forming a sort of checkboard pattern.
All panels, except for panel 1, have a caption at the top of the panel.
PANEL 1
Most of this panel is taken up by large, friendly lettering for the title of this strip: “THE FIVE KINDS OF REPUBLICAN.”
At the bottom of the panel is a small self-portrait of me, Barry, with my arms crossed and looking at the reader with what I hope is sort of a “sheesh!” expression. Barry is fat, has dark hair in a ponytail, and is wearing a solid black tee.
BARRY: White, white, white, white and white.
PANEL 2
A blonde woman yells at her laptop screen, appalled and panicked. She’s wearing a dark red tee and has a coffee cup next to her on the table.
CAPTION: 1. Tools who believe ridiculous lies.
WOMAN: A million Americans have been killed by chips in vaccinations! The lamestream media’s covering it up!
PANEL 3
A man with his brown hair parted in the middle is walking a dog on a leash through a hilly area, with a tree in the background. He’s wearing a collared yellow button-up shirt and blue jeans. He’s smiling big and pointing to something on his smartphone. The dog is looking up at him with a “oh not this again” expression.
CAPTION: 2. Tools who believe ridiculous lies.
MAN: It says here that Portland is a burned out shell of a city!
PANEL 4
A redheaded man, with a large mustache and large glasses, is leaning out of a window and holding up a smartphone. He has an elaborate sleeve tattoo covering his entire left arm, which was super fun for me to draw and which probably no one is able to see because the drawing is small. (Things on the tattoo include a smiling sun, a bird, a big eye, flowers, a compass, and woman’s face in profile, and a big diamond.) He looks angry.
CAPTION: 3. Tools who believe ridiculous lies.
MAN: The Dumbocrats are bussing in ten thousand Mexicans to illegally vote!
PANEL 5
An older man, wearing a thick vest over a yellow sweater, looks out at the reader with a concerned expression. He’s holding a tablet to his chest. He’s standing behind a fence; a bunch of tall, dark red flowers are in front of the fence.
CAPTION: 4. Tools who believe ridiculous lies.
MAN: Liberals made up “global warming” because George Soros secretly owns the solar panel companies!
PANEL 6
A hand (which looks like it belongs to someone Black) is holding a smartphone. On the smartphone, a slick-looking blonde man with carefully styled hair and a huge grin is staring out at his viewers. He’s wearing a suit and tie, and holding up a big orange bottle, like the kind some pharmacies put pills in.
CAPTION: 5. Liars.
MAN: …and that’s why Trump is secretly still president!
MAN: And have you tried my cancer-blasting vitamins? Only $34.99 a bottle for the next five minutes!
Half-naked branches,
black, with yellow flags waving
gentle in the wind.
The guest artist for this cartoon is Nidhi Naroth. Nidhi’s work has a vibrancy I love – even their desaturated colors somehow glow.
I asked Nidhi for a two-sentence bio: “Nidhi is a queer artist with roots in South Asia. They adore conversation and will definitely keep you for an hour or so to talk about various mythologies and folklores (only if you have the time to spare!).”
Please help there be more of these cartoons by supporting my Patreon!
I wrote this strip years ago, based on some eye-rolling complaints I’d heard and read from disabled people, about how some ablebodied people treat them. I showed a rough version of the strip to some disabled readers, and the reaction was mixed. Everyone liked the message, but several people felt that my disabled character, by getting angry, was feeding into a stereotype about disabled people as filled with rage about their disabilities.
Their critique made sense to me, and I put the strip aside. But I still liked something in the strip, so it sat in my unfinished folder for years. Once every couple of years I’d glance at it, say “oh yeah, the test readers didn’t like her being angry,” and move on. Until earlier this year I glanced at it and thought “well, then, is there any reason she has to be angry?” Very often the simplest solutions are the best.
When Nidhi and I were talking about collaborating, I showed them several strips, and they chose this one. I couldn’t be more pleased with how the strip came out, and I’m glad the strip waited years to be drawn, because otherwise Nidhi wouldn’t have ended up drawing it.
TRANSCRIPT OF CARTOON
This cartoon has four panels. All four panels show a few people in what appears to be a park, with a path going past some enormous looking trees.
The characters might be teen girls, or might be young women. One of them is wearing a sky-blue tee shirt and has long red-brown hair down almost to her waist. One of them is wearing a brown hoodie, with the hood down, and has a nice-looking short haircut.
The third is wearing a bright yellow button-up shirt open over a brown undershirt, with her brown hair in high pigtails, as well as a necklace and some bracelets. She’s walking with a dog on a leash. She’s wearing shorts, and we can see she has two prosthetic legs.
PANEL 1
Blueshirt, walking next to Shorthair, is talking to Pigtails. Pigtails has turned back to talk to Blueshirt. All three are smiling, but Pigtails is holding up a hand in a “please stop” gesture.
BLUESHIRT: Excuse me, I just wanted to say, it’s so inspiring seeing you walk your dog despite your disability!
PIGTAILS: Please don’t.
PANEL 2
A closer shot of just Pigtails as she cheerfully explains.
PIGTAILS: When strangers say I’m “inspiring,” they mean they’re amazed I can do normal human things.
PIGTAILS: Like I’m a video of a cat walking on its hind legs!
PANEL 3
A long shot shows Pigtails waving goodbye as she and her dog walk away. Blueshirt and Shorthair are silent, and look a little bit remorseful.
PIGTAILS: I don’t want to be your inspiration, okay? I just want to walk my dog.
PIGTAILS: Have a good day.
PANEL 4
A closer shot of Blueshirt and Shorthair; Pigtails is no longer here. Blueshirt is grinning, her eyes wide, clasping her hands together on her chest. Shorthair is smiling as she holds up her smartphone, taking a photo.
BLUESHIRT: The way she chewed us out? So inspiring!
SHORTHAIR: I can’t wait to post this on Facebook!
Wander sits contemplatively beneath our coffee table, pondering something catly. His uncle, Pete, liked to sit in this position, too.
Brisk air on my arms.
Colder days come, and the dark,
but this day: fresh, calm.
It was lovely to attend and meet wonderful people, including convention organizers like Melanie Unruh, Meg Ward, Linda Nelson and Christine Childs, among others! My great thanks to them for putting on a wonderful event and having me there.
Apparently, this was on everyone else’s minds, too, as the toast master and most of the guests considered what it’s going to be like as we return to a world with conventions and people, rather than lonely houses in quarantine. In particular, I was considering how our current global situation feels both science fictional and not.
Here’s a bit of what I said:
It’s hard to think about what quarantine isolation would have been like in 1918. The dystopian imagery from our cyberpunk novels has come out as people wrangling babies while doing video conferences and lawyers showing up to court wearing kitten filters. It’s science fiction, but mundane and liveable. Yesterday, today, and tomorrow–no matter the excitement or import of events–will always be inflected by the tiny things. Our EMTs need bathroom breaks. Our nurses come home with PTSD from full days of both horrible death and also average, ordinary work. Hundreds of thousands of people die, and the dog still needs walking.
They’re all stories that break the rules about what “can” be done in fiction. Dinosaur is written in second person and takes place internally; Purse is a list story that ends just as events start taking place; and Quiet is written in an omniscient, consensus point of view without individual characters. Art is full of possibilities. Why constrain ourselves as artists or readers?
I was on a panel about Gender Beyond the Binary where we discussed examples of non-binary characters in fiction, and one called Starfish Out of Water which discussed stories of aliens on earth (with a digression into the Sapir-Whorf hypothesis and the Star Trek episode Darmok).
My favorite panel was Art As Resistance with panelists Eneasz Brodski and Chaz Kemp, moderated by Kim Klimek who did an unusually excellent job with posing questions and furthering discussion. Chaz Kemp was passionate about the idea that making and enjoying art is itself an act of resistance. One of the first things fascist governments do is restrain art. They arrest–or even kill–artists. As much as the contemporary United States has problems, I think it’s incredibly important to remember that artists are (by and large) not taking our lives into our hands with what we say and how we choose to say it. The world hasn’t always been like that, and in many places it still isn’t. I worry greatly for our colleagues in countries where government reprisal is more than a threat. I found this panel profound and am grateful to the other panelists, and the moderator, for the discussion.
On a personal level, I enjoyed seeing long-time friends and colleagues like Carrie Vaughn and Matthew Rotundo. Also, it was a blast seeing the masks–sequined masks, fringed masks, masks with cartoon capybaras… I wear a paper mask because I can stand having it on my face, but oh, I appreciate the sequins.
Although it was less of a difficulty in one-on-one conversations, I do have to say it was disconcerting presenting to a masked audience. I didn’t realize how much I rely on seeing people’s faces for their reactions! Without smiles, or even grimaces, audiences seemed to be very raptly paying attention in an extremely sober fashion, which is weird when you’re trying to tell jokes.
Thanks again so much to MileHiCon–everyone who worked on the convention, and everyone who attended!
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I have to admit, this cartoon would have been more current back in May. But on the other hand, employers complaining about lazy workers – and seemingly not considering (or more realistically, refusing to consider) raising wages – is one of those stories that seems to pop up again and again over the years.
In this most recent iteration, various employers, Republican governors, and the US Chamber of Commerce all blamed staffing “shortages” on unemployment benefits, rather than low wages. It’s as if the most basic lesson of economics 101 – supply and demand – somehow fled their minds.
From 1950 until 1970 or so, the minimum wage rose at the same rate as worker productivity. But since then, productivity has skyrocketed while the minimum wage’s value has gone steadily down. If the minimum wage had kept up with productivity, it would now be around $24 an hour, according to economist Dean Baker.
Instead, low-wage pay in the U.S. hasn’t even kept up with inflation over the decades – meaning minimum-wage workers are in effect getting paid less and less. All that extra money from rising productivity is going to the people at the top.
Is there a way out of this? I think there is – but it would have to start with a stronger labor movement. Which is a cartoon for another day.
I’m having a lot of fun trying to improve my perspective drawing skills. It really slowed down drawing this cartoon. (Partly because I let myself draw details that got lost behind word balloons.)
There are cartoonists who do this sort of thing a lot better than I do – but I do feel I’m getting better, and that’s a really nice feeling.
As usual, when I was done drawing the cartoon, I looked at the ground and thought “that looks so bare,” and started adding leaves and pebbles and litter all over the place. I always feel a bit guilty doing that on cartoons that Frank Young is going to have to color, but Frank claims he enjoys all the little details.
My other big drawing challenge, in this cartoon, was the bike in panel two. Drawing bikes is something that’s really intimidated me in the past, so I’m pleased to have made this one work. (Or, I think it works. There’s always the chance I’ll look at that bike in two years and wince.)
On second thought, the biggest drawing challenge wasn’t the bike or the perspective drawings – it was drawing business dude in panel 3. Drawing someone from above and behind turned out to be very difficult – I had to redraw him a bunch of times before getting a figure I could stand.
The hardest part was the arm and hand holding the phone. The little hopscotch girl was kind to me and isn’t holding a phone, so she was much easier to draw.
TRANSCRIPT OF CARTOON
This cartoon is four panels long. Each panel shows the same prosperous-looking middle-aged white man, wearing a suit and tie, walking on city sidewalks and talking loudly into his cell phone.
There’s an additional tiny “kicker” panel below the bottom of the comic.
PANEL 1
Necktie man is talking into his cell phone with an aggrieved expression. He’s walking pass an annoyed-looking young guy leaning against a wall. The young guy is wearing a backwards baseball cap, glasses, and a tank top, and he’s speaking to necktie man. Necktie man gives no sign of having heard.
NECKTIE: I’ve tried everything to find new workers! I’ve gone to job fairs… Offered them tee-shirts for applying…
WALL LEANER: Did you offer higher wages?
PANEL 2
Necktie dude is now in a different area, still looking aggrieved and talking loudly into his phone. On the street next to the sidewalk, a blonde woman on a bike, wearing a red bike helmet and a blue hoodie, talks to Necktie as she passes him.
NECKTIE: I can’t fill these jobs! I even got the government to throw people off unemployment… Nothing works!
BIKER: Have you tried offering higher wages?
PANEL 3
Necktie walks past a little girl playing hopscotch on the same sidewalk. The girl is wearing a purple skirt with puffy tool at the bottom, and a sleeveless tee with a pattern of red spirals.
NECKTIE: I’m offering unpredictable schedules, minimal benefits and $9 an hour! And they still don’t want my jobs?
LITTLE GIRL: You should offer higher wages.
PANEL 4
Necktie dude walks past a couple of casually-dressed protestors. The first protestor is holding a large sign that says “HIGHER,” and the second protestor has a large sign that says “WAGES.”
NECKTIE: I’ve tried everything. They just don’t want to work!
NECKTIE: Hello, governor? Can we arrest people for being unemployed?
TINY KICKER PANEL UNDER THE BOTTOM OF THE STRIP
Necktie dude, still looking grumpy, is talking at Barry the cartoonist.
NECKTIE: I’d love to pay higher wages, but we don’t have the money! I had to get by on only a $38 million salary this year!
I gave a woman asking for money $1 today and she did not immediately get up chuckling and move to…