Evan's Art @evan-bo-bevin - Tumblr Blog

to be honest, i only personally care about plotholes when they appear in writing i already have a bunch of other problems with. if i like something enough, i'll give it a pass/invent an explanation in my head. i can't find the exact quote, but roger ebert said something about this. to paraphrase: "the movie's problem wasn't [such and such inconsistency], its problem was that i was bored enough to be thinking about that."

tendermiasma

Free Speech Coalition trying to start Adult Industry Credit Union: INTEREST FORM LINK

Hey guys, the Free Speech Coalition looks serious about starting an adult industry credit union and they need our help to demonstrate to regulators that enough people would use it.

(and yes, credit unions can issue credit cards!)

Fill out this form if you're interested:

I don't ask much to have posts spread, but adult content creators are trying to break free from the censorship of current payment processors and we need one with a TOS that actually serves us. Please help us!

tendermiasma

Free Speech Coalition trying to start Adult Industry Credit Union: INTEREST FORM LINK

Hey guys, the Free Speech Coalition looks serious about starting an adult industry credit union and they need our help to demonstrate to regulators that enough people would use it.

(and yes, credit unions can issue credit cards!)

Fill out this form if you're interested:

malacandrax

also there are just so many beautiful classical paintings with like, a loving mother with a nude baby and I think it's insane that you might be shunned nowadays for making something so clearly from a place of love. Yeah sure, predators might see that art differently. I don't think that's a good enough reason to not make it. I think yeah, probably don't share naked pics of your actual kids online, legit. But I don't think making something taboo has ever made anything better. gestures at the fake incest pornography industry.

bigolbadblog

i feel like something that's missing from some people's understanding of kink fiction and fantasy is, like... in fiction and fantasy, everything is in-scene.

when real people do kink in real life, you gotta do all that good out-of-scene stuff like discuss boundaries, set limits and expectations, check in with each other, do aftercare, et cetera et cetera et cetera... but in fiction, everything can be in-scene!

the people in that fanfic don't exist any more than, like, the make-believe sexy football star and make-believe sexy cheerleader in a couple's roleplay exist. that couple doesn't need to get into character and then pretend to be a sexy football star having an important consent conversation with a sexy cheerleader, because that's a conversation that's already happened out-of-scene and out-of-character. (i mean, if you're into in-character negotiations, chase your bliss.) when they're in that scene, they can just pretend to be a sexy football star having sex with a sexy cheerleader. that's okay.

so like. when fiction does kink in a way that would be unsafe or harmful irl... just keep in mind that you're not watching actual people neglecting check-ins or ignoring their set contract or genuinely harming each other. you're watching a scene without the behind-the-scenes bits, and that's okay.

bigolbadblog

this has gotten a couple replies along the lines of "yeah, you can just assume the characters worked all the important consent stuff out when you weren't looking!" which is true in some cases, but not the point i was trying to make, so please bear with me while i try to rephrase myself.

when i say in fiction, everything is in-scene, i mean that the fiction IS the scene.

if someone went up to their partner and said "hey, wouldn't it be sexy if we pretended you were manipulating and controlling me in an unethical way for sex reasons?", and then they talked through all the good and necessary consent and risk-awareness things, and then they played that scene out - that's a made-up scenario where pretend bad things happen, but no real-world people come to real-world harm, right?

now, if someone writes a story where one character manipulates and controls another in an unethical way for sex reasons... that, too, is a made-up scenario where pretend bad things happen, but no real-world people come to real-world harm.

kink fiction doesn't have to be about characters consciously and conscientiously Doing Kink. kink fiction can be stories where the kinky things people fantasize about or roleplay (but wouldn't want to happen in real life) do happen in the universe of that story. because the story is a scene.

derinthescarletpescatarian

#Yeah this is THE thing that drives me crazy the past couple years#like imagine if u were a kid playing playing with dolls and other kids prefaced every idea you had with “but the dolls are just PRETENDING”#“the dolls arent going on an adventure theyre just in their backyard and soon their mom will call them in for snacks and water :)”#like im going to end u- you're taking all the fun out of imagination by anchoring it into real life#“well why would u want to pretend the dolls are in danger instead of pretending to be in danger for their enjoyment? Suspicious :/” ughhh#kink discussion#consentception

@sacred-pro-fiction's tags

mtxyqmpsfqklt

The image about straight woman yaoi (exaggerated hands, slender frames, soft features) vs gay man yaoi (exaggerated chests, stomachs, upper arms, detailed musculature, mature facial features) is really interesting as a sort of "received sensory homunculous". You could also apply it to hentai made by and for straight guys where the girls all have immense breasts. The features that the target audience notices get expanded as if under a microscope, everything else disappears into the background. It's not just desire but also detail, if your audience wants hands you have to put a lot of detail into hands, and that means drawing hands bigger much of the time. If your audience is going to distinguish between hunks and bears you need to draw a lot of shirtless upper body shots and get complex about body composition because someone is going to notice. It's like a visualization of the sexualizing gaze.

themainspoon

I agree, but would like to expand by talking about the trope of "hentai anatomy" and "bad anatomy" more generally. Both through how it expresses sensation, and how it reflects ideas about gender and sexuality.

Honestly I've been of the opinion that "hentai anatomy" isn't so much "inaccurate" as it is an attempt to communicate sensation through a visual medium for a while now. Artists do not draw anatomy and bodily functions inaccurately because they don't understand anatomy or bodily functions, but intentionally for the sake of communicating sensations to their audiance. "Anime Breast Physics" and other examples are not like that because artists haven't seen real boobs, but because they are more preoccupied with trying to convey a sense of what it would feel like to touch them to the audience.

A lot of "bad anatomy" mistakes that people love to point out are in fact not about misunderstanding anatomy insomuch as they are reflections and exaggerations of pre-existing ideas about sex.

I'm going to give an example here, stick with me, I want to lay the groundwork first: Think about the centrality of penetration as a part of sex for straight guys, think about the ideas of strength and dominance associated with the phallus (the gendered and cultural meanings given to and associated with the penis), think about the masculine status attached to the size of the penis, think about the importance of being dominant and how that ties into size and penetration.

In her book "Dude, You're a Fag: Masculinity and Sexuality in High School" Feminist Theorist C.J. Pascoe talks about how she saw teenage boys talk about their (overwhelmingly made up and/or extremely exaggerated) sexual encounters with women. To quote her: “None of these stories were about sexual desire or how attractive the girls were; rather, they were quite gross, about farts, feces, and blood. These stories were about what boys could make girls’ bodies do. That is, the sexual tall tales these boys told when they were together were not so much about indicating sexual desire as about proving their capacity to exercise control on the world around them, primarily through women’s bodies by making them bleed, pass gas, or defecate. These stories also highlighted femininity (much like the fag) as an abject identity. Girls had out-of-control bodies, whereas boys exhibited mastery not only over their own bodies but over girls’ bodies as well. These sorts of girl-getting rituals and storytelling practices constitute “compulsive heterosexuality.” While on the surface they appear to be boys-will-be-boys locker-room talk in which boys objectify girls through bragging about sexual exploits or procuring a kiss, a closer look indicates that they are also about demonstrating the ability to impose a sexualized dominance.” – Page 80

Now, considering all this, does the much beloathed "penetrating the cervix" trope start to make more sense? This is not a defence of the trope (hopefully nobody thought that was the goal here, but if you needed me to tell you that it isn't, I'm glad I did), because it is stupid as fuck, and it does suck. In many places sex education is still really poor, and focused solely on consent and safe sex (which are not bad topics to cover, and they do need to be taught) without any mention of pleasure. This means that a lot of people are still getting ideas about things from porn (which isn't good), meaning that there are people who do think that penetrating the cervix would be cool, good, and pleasurable instead of horrific and painful.

In terms of the origin of the trope though, it isn't really about the act itself, it's a heterosexual masculine power fantasy about being masculine enough and having the level of control over women's bodies that would allow one to penetrate that deeply. I think understanding this sort of "bad anatomy" not as the result of stupidity or ignorance, but through understanding the cultural and gendered forces that influence our sexual desires and practices and how people construct and "do" gender through sexual practices and depictions of them, is vastly more insightful and constructive.

All media says things about the socio-cultural context within which it was made. But often porn doesn't just say things, it yaps incessantly and refuses to shut the fuck up.

catprinx

My shortbox 2023 comic My Father Was a Good Man is now available for purchase in my etsy store! I'm not planning on releasing a digital version anytime soon so grab a physical while you can!

catprinx

physical copies available in my etsy store until February 9th!

I understand the urge, and this is something that is so small potatoes compared to everything else in the world right now, I know that... but I really hate the language people use to distance themselves from "those deranged people who only do voice calls instead of texting" or similar.

I'm not neurotypical. I have Neuroses. I enjoy texting just fine and it can often be the preferred method of communication. But:

1) I enjoy talking to people. Its a method of socialization. It makes me happy. That is not an inherently "deranged" thing to experience, nor is it "deranged" to generally dislike it.

2) I have a friend for whom calling on the phone causes them to have to stop what they were in the middle of because they can't focus on their task and a voice call at the same time, but their neuroses allows them to juggle Task and Texting easier because they can split attention best that way. But for ME, I cant do that.

For me, it becomes a constant stop and start, over and over, ending and reinitializing my task. But if I do a voice call, I get some Happy Social Points as well as whatever think I'm trying to ask about or make a decision on gets done much faster because we arent waiting 1-5 minutes between every text response. My brain can't text while I'm working on something else, I have to stop my original task until the entire text conversation is done, which can take a long time sometimes where a call could be handled in 5 minutes. And texting can lose context! I've been stuck in loops in text because we both thoight we understood something that a voice call would've made clear but text couldn't, and we wasted time that isn't precious for my friend because they can multitask with texting, but it was precious time to me because my life is on hold until the conversation is resolved.

Again, I know it's small potatoes... but it is... exhausting? Embarrassing? When so many people in my industry (indie art/comics) and social group, etc insist that people who prefer voice calls are "freaks", "rude" and "inconsiderate", or "deranged". It makes me ashamed to ask for a phone call because I can't function well if I have to text for certain conversations.

I'm well aware that people who have a hard time with voice calls get put down for it as well, but you guys have to be aware that insulting the very concept of those people means you're digging at someone who is never going to feel the sting of it, meanwhile you've got people in your same disability category that get to feel the full force of that bat your swinging around.

#evan talks

cartoonistcoop

HOURLY COMICS DAY HAS MOVED!

It's the 20th anniversary and we're taking a stand alongside our Black cartoonist members and friends to demand a change to honor Black History Month- draw your comics on the 8th, not the 1st! http://hourlycomicsday.com/

jammyness

Hourly Comics Day is moving! I will be observing it again this year, but on its new date, Feb 8th!

Thanks to everyone who worked hard at the Cartoonist Coop to get this initiative completed, and rescuing the original domain from its lapse so it can be a home for all cartoonists in the future ^^

cartoonistcoop

The Hiveworks Artist Guild has released a public statement alleging years of labor abuses, financial mismanagement, and misconduct at Hiveworks at the hands of Xellette “Xel” Velamist and Isabelle “Isa” Melançon. Read their full statement HERE

Attached image is their logo, no credit (artists asked to not be credited).

longlostlorian

Link to the Chimera Comics Collective, a labor-of-love webring of many (though not all, and not exclusively) former Hiveworks creators, including yours truly! Reading our work is a great way to support us at this time.

bite-your-tongue-comic

A strange assortment of tools… and a very nervous Marko…

🦇 Page 1 of Bite Your Tongue is now live on our website 🧛

You can also read it on Webtoons or Tapas!

rainydayatelier

It's finally here: Our long-awaited vampire webcomic is LIVE!

We'll be posting it a page at a time as we start building up our buffer~

tainted-scholar

Rewatching Treasure Planet (great movie, watch it) made realize something about the way that stories convey information to their audiences. There's been a lot of discussion on the overuse of plot twists and how many stories prioritise surprising their audience over telling decent stories. However, if you instead reveal the "twist" to the audience before it becomes known to the characters, you can build tension and stakes. Treasure Planet comes right out and tells you that Long John Silver is the main villain almost immediately after his introduction (And even before he's introduced we're warned about a cyborg, so you'd have to be pretty dense to not put 2 and 2 together and realize he's a bad guy). So when the audience watches him and Jim bond and grow closer, it builds tension for when Jim finds out and it highlights the tragedy of their friendship, because we all know it's not going to end well. Then, after the truth is revealed, stakes are created because we want the friendship between Jim and Silver to be repaired, because we know it was real, but we don't know if can be after what Silver's done. And all of this would have been lost if Silver's true nature had been a cheap plot twist. The tragedy would be completely overshadowed by the surprise and betrayal, and any investment in their relationship would have been built on the false impression that Silver was a good guy.

Another good example of this is Titanic. Even if you were somehow ignorant of the ship's sinking, the film makes sure you know that it sank with its framing device of Old Rose telling her story to people salvaging the Titanic's wreak. And Titanic's plot structure could only possibly work if you know the ship is going to sink. I'm not just talking about building tension, tragedy, and stakes for the characters like with the above example, I mean that if you didn't know that the Titanic was going down walking into the film, the abrupt shift from romance to suspense-disaster would be an increadibly tough pill to swallow. But it works because we expect it. You don't walk into a film called Titanic without expecting the damn boat to sink.

However, the sad thing about both of these examples, is that despite all the benefits that came from telling the audience these things ahead of time, I think the main reason the creators didn't make them plot twists was because they couldn't have. Treasure Island is the single most influential piece of pirate media out there, and you'd have to have been living under a rock for over a century to not know the Titanic sank. So, the writers had to work around the fact that these important turning points in the narratives were common knowledge, and they wound creating incredible stories as a consequence.

I want to see more of this style of writing in stories where the writers aren't forced to do it. We've clearly seen that you can tell some really damn good stories by giving information to the audience before the characters learn it, and I just wish more works would do that instead of trying to surprise people with shocking twists.

skeleton-richard

@the-golden-ghost !!!

laropasucia

This is also why most adaptations of The Strange Case of Dr. Jekyll and Mr. Hyde don't follow the mystery plot structure of the original book, since everyone already knows they're the same person, no one will be surprised by that twist nowadays.

As a consequence, most adaptations of the story are told mainly from Jekyll's point of view, and the conflict between Jekyll and Hyde becomes the main story, which makes for really compelling drama!

beleester

We are now having a very innocent little chat. Let’s suppose that there is a bomb underneath this table between us. Nothing happens, and then all of a sudden, “Boom!” There is an explosion. The public is surprised, but prior to this surprise, it has seen an absolutely ordinary scene, of no special consequence. Now, let us take a suspense situation. The bomb is underneath the table and the public knows it, probably because they have seen the anarchist place it there. The public is aware the bomb is going to explode at one o’clock and there is a clock in the decor. The public can see that it is a quarter to one. In these conditions, the same innocuous conversation becomes fascinating because the public is participating in the scene. The audience is longing to warn the characters on the screen: “You shouldn’t be talking about such trivial matters. There is a bomb beneath you and it is about to explode!” In the first case we have given the public fifteen seconds of surprise at the moment of the explosion. In the second we have provided them with fifteen minutes of suspense. The conclusion is that whenever possible the public must be informed. Except when the surprise is a twist, that is, when the unexpected ending is, in itself, the highlight of the story.

--Alfred Hitchcock, on the difference between surprise and suspense.

derinthescarletpescatarian

This device is called dramatic irony and it's very fun.

rainydayatelier

We did it!

That's a wrap!

“Wow… I didn’t prepare for this… at all…”

Thank you all for the support!

Next up is finishing up the comics and getting the books to you. We'll share updates here so you can follow along on our progress and know when we're getting ready to ship rewards!

See ya then~

-- Lee Evans

rainydayatelier

Only 5 days left to pre-order My Assassination Target is my Childhood Crush?!

Campaign ends September 30!

Nate spent the last 10 years trying to move on from his childhood crush, Marissa "Izzy" Crawford. To get by and pay the bills, he did what anyone else would and got a job... as a contract killer. Little did he know that his side gig would dredge up old wounds when he coincidentally gets assigned Izzy as his next target. Will Nate follow through with his contractual obligations, or will he follow his heart and attempt to rekindle an old flame?

>> Check out the campaign here! <<

Special first look at the story…

Bonus Content

Pre-ordering during the campaign also gives you a chance to grab an extra post-story bonus chapter, plus a sneak peek at how the story got made in a making of zine

Who is Lee Evans?

Lee Evans is the shared creative persona behind Rainy Day Atelier. We're passionate about crafting diverse stories that interest us, which often involves the supernatural intersecting with very human experiences.

My Assassination Target is my Childhood Crush? is our 2nd self-published comic, following hot on the heels of our debut comic, Forever Home! You guys showed us a lot of love with our first book, and we couldn’t be more grateful!

Learn more about Lee Evans and Rainy Day Atelier at their website: rainydayatelier.com

Learn more about the campaign for My Assassination Target is my Childhood Crush?!

rainydayatelier

Only 3 days left to pre-order My Assassination Target is my Childhood Crush?!

Campaign ends September 30!

>> Check out the campaign here! <<

Meet Nate (he/him)

Birthday: Aug 24 (28 years old) Favorite Color: Dusty Rose Favorite Treat: Chashu Bao (pork buns) Ideal Date: Movie night at home & chillin’ on the couch together In the decade since getting his heart broken, Nate kept his mind off of things by getting a job (contract killing), redo-ing his whole wardrobe (transitioning), and picking up new hobbies (smoking). While he didn’t intend for life to end up this way, at least it’s a stable paycheck and in no way reminds him of his failed romantic exploits (until now).

Meet Izzy (she/her)

Birthday: March 3 (28 years old) Favorite Color: Blue Favorite Treat: Cookies & Cream ice cream topped with peanut butter chips Ideal Date: An amusement park — with thrill rides! She’ll never admit it, though… Izzy has spend the last ten years adjusting to becoming an international conglomerate princess overnight due to her father’s business dealings. Now back in the States, she plans to carve out her own piece of the empire, get her life back, and possible revisit old relationships she was forced to abandon.

Preview Pages

Bonus Content

Pre-ordering during the campaign also gives you a chance to grab an extra post-story bonus chapter, plus a sneak peek at how the story got made in a making of zine

Who is Lee Evans?

Learn more about Lee Evans and Rainy Day Atelier at their website: rainydayatelier.com

Learn more about the campaign for My Assassination Target is my Childhood Crush?!

Laying out the pages for the bonus chapter at the end of Kill Crush (our in-house nickname for the comic bc its name is too long to type over and over) and I forgot I drew Nate's little face like this. Look at him. He's so proud of his Great Idea.

You can pre-order a copy of My Assassination Target is My Childhood Crush? over on Backerkit starting in September. It's over 80 pages of off-beat romantic comedy featuring a trans hitman & his estranged unrequited crush -- it's a trans!man/cis!woman pairing, for those who are interested ;)

We're going to be part of the Printopia funding campaign that month, so be sure to check out the other cool authors that are gonna be part of it when it goes live!

#rda kill crush #kill crush #My Assassination Target is My Childhood Crush #MATIMCC #BTS #thumbnails

sam-keeper

Hey Look At This Comic: Smut Peddler Presents Pitch Black

I can't remember how we got on the subject of the comics that my friends Iris Jay and Nero Villagallos O'Reilly did for an old Iron Circus april fools bit. maybe we were chatting about Megan Delyani's blank frame comic Spaces, which I wrote a whole review of last year, but it might just as easily have been talking about comic structure generally. cause we're huge nerds. being a huge nerd, I was all over the premise of the joke: a fake kickstarter for a Filthy Figments volume full of comics with all blacked out panels.

it's a great gag, a full webpage duping the Kickstarter layout, with a fun tongue in cheek explanation: comics don't leave enough up to the imagination, there aren't enough interpretive gaps for the reader, so to fix that Filthy Figments will publish a bunch of Pitch Black comics where YOU have to provide the visuals. Joke, maybe, but it lends credence to frame-focused models of comics reading: it's not the images that make something a comic, but the breakdown of page space into discrete units. So goes one theory, anyway. How do these pages fare without their images?

Lin Visel deploys a regular grid of long, thin columns, with a kind of horizontal capital at the top. The speech bubbles drive a lot of the action here and there's a sense of simultaneous movement across the bottom, with the bubbles breaking the panel borders at the top and the sound effects flowing into each other below. So, there's an interesting division between the upper strip, which is relatively subdued, a moment of reassurance that exists almost in its own zone before the rush of the bottom. And, as we'll see with a bunch of the others, in the absence of images the style of the text, the shape of the word balloons, and the font colors all become more crucial to conveying what's happening (sex, to be clear). That's already a lot going on with a series of black panels.

I love how Iris's comic bakes an explanation for the blacked out panels into its narrative. The apparently dominant character gloats that her streaming site won't let her actually display the brutal force-fem pegging she's giving to some shitty gamer bro. Sure enough, at the bottom of that panel there's a black and white video control interface and LIVE signal. Text alone and the design of the speech bubbles transforms the whole diegesis of that second panel, from the floating omniscient "camera" of the other panels to a webcam. Which is crazy because don't forget, there is no diegesis at all. It's all black!

There's so many great touches in this. I love the fact that the tongue in cheek panel containing the "guy's" internal monologue ("I can feel my epic skills draining away with every thrust... along with my masculinity!") is not just a second panel on the upper strip but an inset, separating out this moment of more intimate first person experience from the more remote view of implied fucking. And look at the flowers in the final orgasmic speech bubble! This is a total tangent but I feel like a lot of older attempts at structuralist comics decomposition wanted a firm line between the panel, the image, the characters, the speech bubbles, and so on. But comic elements can constantly interpenetrate, with the apparent domain of text becoming more complex graphical elements. Also, what a cute way to depict orgasming so hard you get turned into a girl. Head full of flowers. :)

It's incredible what you can achieve without breaking Tumblr's draconian terms of service at all.

Robin Tess offers a more straightfoward humorous panel, which lets me catch my breath after Iris's hot and heavy speech bubbles. Yet, this could have been a straightfoward 2 x 3 grid, couldn't it? 6 panels? Instead, this joke about over-engineered jargon names for what could just as easily have been called a "fuckmachine" (left delightfully up to the imagination) gets its core pacing from an irregular panel format. The premise is introduced in a big splashy full-strip panel at the top, the elaboration takes up the middle row, and then the bottom, in two equal panels, displays the two part punchline. I like the subtle way the middle row panels get progressively smaller. It increases the tension as we move toward the release of the punchlines, in a way that could be easily obscured by the panel contents if the page wasn't all blacked out in this way. Like Delyani's work, it makes me want to see notable comics blacked out. It could offer a whole new perspective on the medium's language.

Speaking of which, Nero uses a series of tall regular panels that suddenly POP into one that seems to squirt across the page, the other panels moved to allow for the white negative space to show off the irregular splash of the panel edge. This could be the silhouette of literal fluid, but I also like the idea of a frame that just has this kind of irregular energy. The comic structure itself becoming unruly and fluid to highlight a climax is a staple of many comic genres, but I'd say that I see it deployed most consistently by adult creators, who seem more willing to throw page literalism to the wind in order to achieve heightened expressivity. And once again we've got this escalation to a climactic panel. Typing this up I actually realized I don't have a specific idea of what I think the visual for these panels is or should be. Part of the excitement comes from filling in the blanks, to be sure, but that's true of any comic, which requires us to engage in closure to make sense of the transition from panel to panel. No, it's the drama of the reveal of the vibe plug one character apparently has been hiding, the invitation to intimacy, and finally the release, all achieved through dialogue physically arranged on the page. I don't think this would really make sense at all without the visuals that ARE there--the buzzing sound effect that moves across panel borders and is simultaneous to rather than sequentially arranged between lines of dialogue, and the incredibly suggestive final panel shape. Even without apparent visuals, this is visual storytelling.

Abby Howard wraps things up with the most abstract of the pieces, one that doesn't use frames at all but implies panel contents simply through the convention of word balloon tails. The result is a disorienting dark mass. It's hard to know what exactly is happening here and actually I'm having a hard time imagining what the last visual is "supposed" to be. It sort of is what it is: groping claw marks raking a black void. It's part of the april fool's joke, but it's a creepy one, and it feeds into the final joke of the page: that all this overthinking, all this trying to make sense of black panels, has worn you out, made you vulnerable to the Dark. Well, looking at everything I typed up here, I can't deny the inevitability of this end. Time to get in the maw!

Actually I think this end uncovers the close relationship that comics and hypertext narratives or more experimentally formatted texts have to one another: the space on the page becomes, itself, a signifying element and a way to direct the flow of the story. It's a shame that this is, I think, still considered a bit gimmicky in the realm of professional publishing and criticism. We have all these tools we've barely employed for storytelling, made far more accessible than in the days of having to manually set type!

Well, maybe it'll all have its day in the sun, or I suppose night in its new moon, soon enough. With an increasingly puritanical treatment of sexuality in society and on the internet, maybe we'll ALL have to black the action out of our comics and leave the frames to imply what we socially no longer want to see.

Pitch Black: Comics Code Authority approved!

you can read more reviews in the Hey Look At This Comic tag and support me on Patreon at least until they get my ass for being an adult writing about comics for other adults.

irisjaycomics

Cool writeup for an April Fools thing I did for Iron Circus a while back! Small correction: this was for a fake Smut Peddler anthology, not a Filthy Figments anthology. Judging by how cool these came out, though, maybe someone should make this for real sometime...

itsneroart

This was FUN and I want to do more silly smutty stuff like this again!!

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