Returning, the cold
breaks against the bedroom glass.
Wild-eyed, the cats watch.
Returning, the cold
breaks against the bedroom glass.
Wild-eyed, the cats watch.
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Although I draw this strip from the perspective of a fat man, I think everyone who is in any marginalized group has experienced moments like these. Moments where someone says something that stabs you a bit, and then you have the choice. One option is to be the party pooper: To speak up and bring down everyone’s mood and make people uncomfortable.
And it’s hard! For me, it goes against my strongest social instincts, to get along, to make things easy for people, to try and be liked. I think a lot of people share those instincts.
The other choice is to just swallow what I might say, and withdraw from the situation, either in my head or (like the character in this strip) by walking away. And I do this a lot – not (just) out of cowardice, but also out of self-preservation, conserving energy, picking my battles.
The art for this was fun to do. To draw three characters in full-figure in four panels is actually significantly more work than, say, if I had made panel 2 a close-up of the fat character’s head with no background. But I’m happy with how it looks. I’m especially pleased with panels 1 and 3, because both of them have foregrounds, middle grounds, and backgrounds, and I really enjoy that feeling of a world with depth.
The bad part of that is that the more extraneous stuff that’s in a panel, the more likely readers are to find it a mess visually. I just have to hope that I’m skilled enough to keep that from happening!
TRANSCRIPT OF CARTOON
This cartoon has four panels, plus a small panel underneath the strip. The first and last panels are colored in shades of purple; panels 2 and 3 are colored in shades of blue-green. All four panels show three people walking through a hilly park. There’s a thin short man in a striped shirt; a thin woman with glasses and black hair in a ponytail; and a bald fat man wearing a button-down shirt.
Panel 1
Stripes and Glasses are cheerfully chatting, and Baldy looks back at them, looking concerned.
STRIPES: I ate too much on vacation and now I’m so fat and gross!
GLASSES: I know just what you mean! Let me describe my new diet in mind-numbing detail!
Panel 2
A large caption at the top of the panel says “WHAT I WISH i SAID:”. The three of them have stopped walking; Baldy has turned around and is talking to Stripes and Glasses, who are listening.
BALDY: Hold on a sec. Neither of you are fat. But I am. When thin people call themselves fat and gross, what does that imply about me?
Panel 3
The three have resumed walking as they talk. Glasses is thinking as she speaks, a hand on her chin; Baldy has his hands spread in front of him as he talks, Stripes, looking perhaps a bit nettled, is raising a finger to make a point.
GLASSES: I hear you, but isn’t this just how an anti-fat and misogynistic society has conditioned us all?
BALDY: But it still feels like you’re co-signing anti-fat bigotry. And I’m sure I’m not your only fat friend you’re making uncomfortable.
STRIPES: That’s not what I meant to do….
Panel 4
This panel has a large panel at the top, which says “WHAT I SAID:”. In the background, stripes and glasses are happily chatting with each other. In the foreground, Baldy is walking away, with a hand on his stomach as if he’s got an upset tummy.
STRIPES: Diet talk calories lifestyle change blah blah
GLASSES: Carbs keto diet talk blah blah blah
BALDY: Gotta go. Bye.
Small “kicker” panel under the bottom of the strip
Barry the cartoonist speaks directly to the reader.
BARRY: The funny thing is, at one time or another, I’ve been all three of these characters.
The king is dying,
memory fading.
Now honor is gone
now yesterday’s dinner
now mother’s hand stroking
the ermine collar
of her deathbed gown.
(For now, the world
flat and finite
like his mind. The ocean’s
crisp boundaries
spill over four corners
like memory, disappearing.)
The king orders
a fleet of glass galleons
set out to explore
the edge of the world.
They launch, crystal sails
aloft in the sun,
casting rainbows
through ocean spray.
(A century hence,
the world will be round
like a fruit:
one endless circumference.
Minds, too, become
deeper thoughts hidden
like icebergs
submerged in men’s souls.)
Sailing toward
the periphery
translucence deepens.
Ships pale, disappear,
til but one is left.
Atop the survivor’s mast
the king’s sole
remaining lieutenant
peers at knife’s edge horizon.
The world tapers
stretched thin. Sky bleeds
navy, royal, azure
fainter
to absence’s hue.
(World and man
exchange simplicity
for paradox,
linearity curving
swallows its tail.
The traveler’s straight path
leads home again,
in the end. His marriage
disintegrates
in childhood’s castles.)
Beyond, nothing
save slow cascade
of water pouring nowhere.
King’s faded schooner
balances on edge
one moment neither
within nor without.
Heavy, stern dips
mast creaks and shatters.
Tipping over
she falls
following oceans
over precipice
to comprehension,
lost.

Fran is a character I drew for a role-playing game I was sketching out called Cats and Dogs Living Together.
Fran is a medium-sized, white American French bulldog with an incessantly cheerful personality. She’s two years old, and a bit smaller than she should be at thirty pounds, due to puppyhood illness. She loves people and has broken her tail multiple times from overzealous wagging. She is always up for playing games with other animals, even if the other animals aren’t. She’s not very bright; if you put her under a blanket, she could probably find her way back out.
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Another collaboration with Becky Hawkins! This one was written by me, and drawn by Becky.
In hindsight, “the way cities are addicted to widening roads, even though it never helps in the long term” is sort of an odd topic to do in a comic strip. But it’s nice to do an out-of-the-box subject now and then.
And this is a serious issue – traffic engineers are pretty convinced that widening roads doesn’t work. And widening roads is really, REALLY expensive (“half a billion” is actually a realistic price tag for some road-widening projects).
But it’s also very intuitive. “There are too many traffic jams, so let’s widen the roads” might be a wrong narrative, but it’s also a very clear narrative that voters tend to agree with. Not unlike “let’s lock more criminals in prison.” It’s a clear narrative and sounds like an active solution, all things politicians like.
In contrast, congestion pricing – that is, charging cars for driving during peak hours – actually does work to reduce traffic jams. And it’s much less expensive to implement than either new roads, or widening old roads.
But it’s also unpopular with voters – no one likes a brand-new form of tax. And it does raise some fairness issues, too – what about working-class workers who don’t have any control over what time they’re required to be at work?
TRANSCRIPT OF COMIC
The comic has four panels.
PANEL 1
The panel shows backed-up traffic on an overpass in the foreground. In the background, we can see more backed-up highways, and behind that the buildings of a small city, including a white building with a big dome on top and a US flag – i.e., a government building. Two word balloons come from that building. The balloons belong to characters I will call MAYOR and NERD.
MAYOR: The city just spent half a billion widening roads. But we still have traffic congestion!
NERD: Well, Mr. Mayor, studies show that adding lanes doesn’t fix traffic.
PANEL 2
Inside the mayor’s office. There is a big curtained window and a fancy executive desk with a big leather chair. In front of the desk is the Mayor – a man in a suit with gray hair – and a woman who is a nerd, by which I mean she’s wearing glasses, has her hair in a bun, and is carrying a stack of three-ring binders.
The Mayor is making a “stop talking” gesture, holding up a hand flat in front of the nerd’s face. The mayor looks angry, and his eyes are bloodshot.
NERD: People’s capacity to drive is greater than our capacity to build roads, so-
MAYOR: Blah blah blah! We’ve got to do something!
PANEL 3
The mayor, now looking happy, makes a big sweeping gesture with his hand, causing the surprised nerd to drop her binders.
NERD: Um…
MAYOR: I’ve got it!
PANEL 4
The mayor and the nerd are now on stage, the mayor behind the podium and the nerd to one side and behind him. There is a cheering crowd watching the mayor speak.
The Mayor is waving a hand grandly as he speaks. The nerd is face-palming.
MAYOR: Good news, citizens! We’re widening the roads again!
Waiting in the cold,
trying not to let my mind
rush when all is calm.
Pia is a character I drew for a role-playing game I was sketching out called Cats and Dogs Living Together.
Pierrot (“Pia”) – The black spots around Pierrot’s eyes make her look like her namesake, a French clown–but everyone calls her Pia. The plump, thirteen pound, four-year-old does everything with gusto. She wants to be everyone’s friend. She’s energetic, risk-taking, and impulsive–smart enough to think through the consequences of her actions, but far too impatient. She’s always a mess; she has more interesting things to do than worry about her crooked whiskers and matted fur.
In early dimness,
a quiet, unmoving sky
chills, waiting for dusk.

Suzy Q is a character I drew for a role-playing game I was sketching out called Cats and Dogs Living Together. She is a sixteen-year-old Scottish Fold whose thick grey fur makes her look even larger than her twenty pounds. After years of indulgence by a previous owner, she has a constant hankering for table scraps. At her age, she can’t jump higher than a barstool anymore, but she can still get up to high speeds when excited. She is very clever, and very impatient with those who aren’t. She enjoys puzzles, mysteries, and not being pestered.
Back in 2010 when my American friends were upset about Obama's actions, they emphasised heavily that he was killing American…