…even while on vacation. Sort-of. What does “vacation” even mean when you’re retired? It means you needed a change of scenery. And I badly needed one. So here I am.

Garrett family of one, all checked in to Port Orleans Riverside. New Orleans slow jazz playing on the room TV.

I could get very used to going back to this way of staying here. This was how I stayed before I bought into DVC. The mid grade resorts are very nice, and being retired I can go whenever the rates go down. I’m only missing the kitchen, but I’ve ways of dealing with that.

Still working on ACOS #36 while here at Disney World. I’ve done this sort of thing many times before and I know exactly what to bring. Here’s the setup I had while I was staying at B.

Got another ACOS #36 strip done just now and posted to my website. That’s three done and three more to go.

I’m not posting a live link to the new episode until it’s all finished and I’m good with what’s out there. But those of you handy with all this Internet Web stuff can figure out what the link will be from how all the others in this project are constructed and see the work in progress as I post new ones if you want.

Think I might take a stroll around the resort now and decompress. Port Orleans Riverside is pretty nice. Going to Epcot later.

I had dinner at the Riviera with some friends from Space Telescope a couple days ago. The restaurant is on the top floor of a really nice DVC hotel and the view from the terrace is spectacular.

I had their signature fish dinner. No photo because I was too busy digging in. It was Wonderful. They took me to the steakhouse at the Yacht Club yesterday.

Not a lot of Pride merchandise here now, but it’s there if you look.

I’m guessing it’s because a lot of space is being taken up by the park celebration of Women’s History Month. And they’re really going all in on it with displays and (of course) merchandise celebrating the women who’ve contributed over the decades to Disney films and park designs. I stop to read all of it and it’s just stunning how much of it there is in Disney history that’s been behind the curtains all these years.

The new Magic Band+ is really something. It pairs with your smartphone and is rechargeable. You can check the battery level and update the software on your smartphone. So it’s not just a simple short range RF device that dispenses a serial number attached to your Disney account anymore, it’s yet another smart device.

Battery charge only lasts three days and they say to keep it on its recharger overnight while in the parks. The original Magic Bands lasted several years but they didn’t do much except dispense a serial number.

Of course making a big display for Women’s History Month isn’t going to make the MAGA morons any happier with Disney and that’s good (we’ve all read about how they’re blaming the failure of Silicon Valley Bank on its “woke” board of directors…right?). I expect the Pride stuff will come back out in June. We’ll see how DeSantis responds. It’s not generally understood how much he backed down from his threat last year to take away Disney’s special improvement district.

This is a hard one to get out, largely because I am so emotionally invested in it and I want it to be exactly right. So each panel of it is a Lot of work. And adding to that is I can’t use any of my usual time saving copy and paste tricks. Nearly everything in each panel is unique from all the others. The only exceptions are the backgrounds of three of them, one of which I’ll show you here. This is the second from the last strip up in GIMP, which I’ve been using ever since Adobe stuck an eight-hundred and fifty dollar knife in my back…

I’m breaking a rule I had when I started this cartoon story, that I would always use cross-hatching for shading and textures and such. I wanted the story to be a visual nod to the black & white underground comix back in the day. The printing they used wasn’t always the best, but they made it work, sometimes with zipatone, but more often just by painstakingly (really Really painstakingly) cross-hatching.

But for this one episode I’m using the paintbrush and grey tones here and there, to make some of it snap out, but also to create a distinctive change in mood. I used to do a lot of that in Photoshop, but you can’t depend on anything from Adobe, nobody can, so I switched to GIMP and other open source artist tools, and this is the first time I’ve done something like this with a gradient in GIMP. It worked perfectly.

This episode is forming up almost Exactly as I’d visualized it back in 2005, when I set out to do this story. It’s been a long road and I’ve rewritten many parts of the story as I’ve gone along, but not this part. This is, as The Doctor would say, a fixed point in time. This, and one other, which I hope to also get to soon. I’ve said the story I’m telling is one third what actually happened, one third artistic license, and one third pure imagination (as in the parts involving my libido and left/right brains as imaginary figures). This is the part that really happened just this way.

I was having a lot of trouble and frustration with one of the panels I was working on the other day, and when that happens it helps to work for a while on a different part. Some classmates might recognise the place I’m looking at into the sunset there. There, at the moment of truth.

Finally…Finally…I got the pencils all done for A Coming Out Story episode 36. Tomorrow I’ll start on the inks and shading. The rest of it should go faster now. It’s the pencils, where the artwork begins, that I always have to struggle with the most.

Probably still another couple weeks before it’s up…

Yes, yes…I know. It’s been a while since I’ve updated A Coming Out Story. But I’m back at it…stay tuned…

Without true love we just exist…

The amount of concentration I need to sustain to do any sort of drawing quickly becomes exhausting. But I am retired now and I can put a day’s work into it, if a bit haphazardly. I have to walk away from the drafting table frequently just to let my mind wander.

This next episode of A Coming Out Story involves a lot of drawing because it is so important to me to get the feel of what is happening in it right. In most other episodes can use a few tricks to make the going faster. For instance, in the previous one I drew a background once and then copied it into every panel. And for every episode that takes place in the school, I’ve got a long drawing of a hallway with lockers and water fountains and classroom doors that I plug a section of into the artwork. But in this episode, every single panel but one has to be 100 percent original artwork. And the amount of concentration I need to sustain to do any sort of drawing gets very exhausting.

It would probably not be so bad were I a trained artist. But I am self taught and I am not kidding about being a hunt and peck draftsman. The electric eraser gets more use than the pencil. Some days I wish I’d moved mountains to get myself into the Maryland Institute College of Art. But then this entire story is about one of the other central regrets of my life. So it goes, as the Tralfamadorians say…

I’ve given myself a goal of getting the pencils done for one panel a day, or hopefully one entire strip, which this episode are all two long panels each. That gives me eleven days to finish the pencils at most, or less if I can do two. But that’s less likely so it’s not going to happen at lightning speed. But the pencils are the hard part. Once they’re done the rest of it goes pretty fast.

I need to get this story finished. I’m feeling my energy levels dropping in a scary way, since spring. And there are still maybe another thirty episodes to go.

I have a new LED light board now. The large ArtGraph I had for ten years failed due to a poorly designed power switch setup. My first thought was I’d fix it myself, but the unit is not designed to be openable and fixable. After a lot of struggle I managed to peel the top cover off it and saw that it’s all riveted together inside and in order to get at what the problem was would take me drilling out a bunch of rivets and probably rendering the until unusable anyway. So I took a look at what it would cost to replace it and well, things have got a lot less expensive and much nicer in ten years, so there’s that.

This new one from U.S. Art Supply is thinner, a tad lighter in weight but solidly built, has a variable brightness control, and cost a third what the ArtGraph one cost. Not that I’d buy anything from ArtGraph ever again. The one I had was so solidly built I thought it would last a lifetime, but one bad design decision and the whole thing is trash. In the online chats I’ve seen people reporting rudeness from their customer service droids when asked about sending things back for repair. So apparently you can’t even pay them to fix their products. But after looking inside one I can see their point. It just isn’t worth it. As always, you’re supposed to be a good consumer and just buy a new one. Which I did. Just not one of theirs.

We’ve a nice electronics recycling station at the city recycling center nearby. So the old light board isn’t just going into a landfill.

For the first time ever I’m pretty sure, I’m going to have to storyboard this next episode before I begin working on it. I have a clear idea of what happens in it, and a clear idea of how I want to do it. What I don’t have, unusually for me, is a clear idea of how it will look when it’s finished.

I posted a link a while ago to an article about people who either have, or don’t have, a “mind’s eye”. That is, the ability to visualize something entirely in your head. I have a good one…maybe too good for my own good because ever since I was a kid I could just disappear into it whenever the world was making me hurt, or boring me. I joke that tuning out the world was a trick I learned in Vacation Bible School, but actually while I may have perfected it there, I was already doing it by the time I had to attend.

So I almost never do preliminary drawings of anything. I think about it and by the time I begin to work I can see it so clearly there are actually times when I haven’t bothered producing something because after I’d drawn it in my mind I didn’t like it.

The extent of preliminary work on A Coming Out Story has been my scripting it. I’ve had to do that to make sense of a story so big (33 episodes plus intermissions so far and I’ve still got a long way to go). While I’m scripting I’m visualizing it. I don’t really need to storyboard.

But this time I do because I want to try something a bit clever with it. The new title is Flirting In Denialville. How do you get across visually, in cartoon form, two teenagers struggling with how to get it across that they’re attracted to each other, while at the same time in denial that they are exactly that?

I think I know. But it took a Lot of thinking it out…trying this scenario and that. And I still need to storyboard it to convince myself that it’s going to work. This Isn’t Asking For Advice. I’m just saying this is why I’m doing the storyboard. It’s something I’ve never had to do before which is why I’m talking about it here. Often I blog just to get my thoughts in order. Or something approximating order.

Notice the panels are separate little squares of drafting paper. I may need to move things around a bit before I have it to my satisfaction.

What I’m looking forward to in retirement is having more time to do this sort of thing. Tomorrow it’s back to the office.

PS… The mushroom is an incense burner. It puts me in a 70s mood…

Finally getting to work on the next ACOS episode. This one is also just a two strip installment, so it shouldn’t take long.

This is where the story shifts gears pretty significantly. Remember the subtitle of this story is, The first person you come out to is yourself.

I was reviewing my server logs, as I always do, while I was at Disney. My little website gets next to no traffic, mostly because it probably isn’t all that interesting, but also because I do next to nothing to promote it. If I get a lot of traffic I’ll have to pay extra for hosting it and that could mean making a deal with the advertising devil.

But also, I’ve a weird self consciousness about drawing attention to my artwork, which is what I initially set up the website to be a showcase for. The blog started out as a lot of the early blogs did, as itself a kind of public art. Believe it or not, blogs began as open online diaries and people thought when it all started that the bloggers were crazy to put their lives out there like that. But it appealed to me as a way of getting things off my chest, and since the website didn’t get hardly any traffic I figured it was okay. I used to joke that it beats yelling at the TV.

But it gives me a bunch of joy to see what little traffic there is coming in, and especially when someone randomly hits an episode of A Coming Out Story and then binge views the entire thing. It’s a very rewarding feeling. On the other side of that coin are the readers who start binging it, then suddenly stop…and I go look at the episode they stopped at and wonder…why did you hate that one?? And of course then all the insecurities about my abilities come rushing back out. I have to keep reminding myself that a lot of readers are probably looking for the sex scenes and they’re going to be getting impatient and frustrated when it becomes staringly obvious that it’s not That Sort Of Comic. Oh…you finally figured it out There did you…

It’s the repeat viewers, the regulars, that keep me going though. Mostly those are folks who check in from time to time to see if I’ve put up a new episode (I am SO SORRY ABOUT THIS…). They hit the main page where I used to have progress bars (which I later gave up on) and maybe re-read the last one or two (I repeat: I am SO SORRY ABOUT THIS…).

Then there are the regulars who come back and revisit what seem to be favorite episodes, or at least episodes that are particularly meaningful to them. I really appreciate these, because it means I actually struck a chord. Maybe even the sort of chord that gets a comic strip put up on a refrigerator. Except my formatting of this story doesn’t easily lend itself to that. (I take full advantage of the fact I can make each episode as long or as short as it needs to be since it’s all on the web.) Maybe someday I’ll gather them into comic book form (hahahaha…sure thing Bruce…)

I can’t tell specifically who it is visiting because IPs are so seldom static these days. But I see familiar patterns, ISPs and locals and I think I can make some educated guesses.

And it’s the semi-regular readers like the one that visited from a familiar Florida ISP while I was down there last week of March, and hit several of the more recent episodes, and then a couple out of sequence from further back…especially that one “Conversation With God” episode, like those particular ones meant something to them, that really lift my spirits and make me want to actually finish the damn thing one of these days.

Yes, life did feel so much more wonderful than it did before. Or since. Maybe I’ll go into that a little more in the next blog post…

Last two panels of the last strip in episode 31. Notice all the erasure marks on the one on the left. No kidding, I really am a hunt and peck draftsman. It probably makes it a lot more work than it would otherwise be if I had more formal training. I just eyeball everything. But there is a method here to my drawing a figure and you can see a bit of it in the panel on the right.

I start with a bunch of circles and ovals and draw some rough grid lines over them and then start fleshing things out. Circles and ovals for the head, arms, abdomen and hips, a kind of odd triangular form for the chest and rib cage. It gives me a start on where to put things. I have no idea where I came up with this but it’s something I’ve used to help me get a figure drawn for ages. I suspect it’s stuff I’ve pulled from various artist’s guide books over the decades. A kind of desperate dumpster diving for an art education.

Note the bit of tracing paper I’ve taped to that last panel. This is my crutch. This panel was, for me, a complex pose, and I needed to get it just right for the gag at the end of the episode to work. I made several starts on it and wasn’t satisfied with about half of it, but the other half was in the ballpark. So I layed a bit of tracing paper over the part I liked to try various solutions for the part I couldn’t seem to get right. Doing this, I can just toss the paper overlay when I see myself backing myself into a rut, and just start over fresh on another piece of tracing paper if I needed to. I can also move the tracing paper around to see if adjusting it this way and that makes it any better. This saves me from potentially erasing all the way through the drawing below it in a struggle to find the right lines…like I almost did on the left panel (which I’m still working on…). When I get something I finally like, I’ll stick the tracing paper Under the drawing, trace over its lines to complete the drawing, and put it aside. Sometimes I just leave it there when I put the paper I’m going to do the inks over it.

There was more work to do but I know when it’s time to just stop for the night and see what I see when I look at it again with fresh eyes in the morning. Which I did early this morning. I think I have it all good now.

So now it’s on to the inks. The pencils are the hardest part of the work for me, and the most time consuming. And the part I’m always the most afraid of. But I think I’m finally learning that if I just keep struggling with it eventually I get it right. At least I’m getting more confidence in that.

Soon I’ll lay another sheet of the same art velium over this one, stick them both on the big LED light board, and do the inks. That way…and again this is all because I’m really insecure about my drafting abilities…if I screw it up I still have the untouched pencils and I can start over with a new sheet of art velium. It seems the pros all just ink right over the pencil lines. I will never have enough nerve to do that.

A Coming Out Story, episode 31 in progress on the drawing board. When the drawing you’re working on makes you relive old anxieties…

…and I got that look 40+ years later too. So it goes…

Starting the pencils on episode 31. Once again it’ll just be three strips, four panels each. Maybe if I just treat it like it’s a paying job I might get these done sooner. I want to get all three in this story arc finished by year’s end…which is just a few weeks away so maybe that’s a tad optimistic. The pencils are the most difficult part for me, since I’m really just a self trained hunt and peck draftsman. But mostly…I’d say four fifths of it, is overcoming my self doubts and just doing the work. Once I get into it and build up a head of steam for it, I can bang things out pretty well. The electric eraser (off panel in this photo) does get a lot of work though.

I have a template that gives me the size of each strip, and grid lines for two, three and four panels to a strip. I have saved line art that’s just the two, three and four panel frames, that I copy over to the working line art file after I’ve scanned in the line art and copied it over to a master image file. If the panels are oddly sized I tweak it in GIMP using a transform tool that lets me extend or compress the panel sizes.

I’ve got all this down to a pretty uniform workflow, which is what made moving it over to GIMP a stressful process. But it turned out not to be so bad after all. Just a few tweaks to it and I’m back in business.

[Update…] Well well…I got the first strip pencils done…generally. There are still details to flesh out, but the essence of it is done. Took about two hours.

I need to remember this. I can do the work in a reasonable amount of time. Most of the time between episodes of this story has been dallying because I’m afraid of not being good enough to draw anything but crap.

Well…and not being able to figure out how to tell parts of it…

And it’s true that some of what I’ve drawn in past years I’m appalled to look at now. But that’s normal. You get better at a thing the more you do it. At this stage of my life I’m doing some of the best artwork I’ve ever done. I really need to stop being afraid that I’m no damn good.

A Coming Out Story, Episode 30 is live…

There’s a panel that should be in there at the beginning, after “The breathless glances” and before “The constant denial” that would have been captioned “The Flirting”, (more likely “The gay teen nerd in denial flirting…but that wouldn’t fit…) but I cut that one out because it didn’t fit the layout…and I can get to that part of the story soon enough.

So I can move along more quickly here (Hahahahaha…yes…I know…) I’m breaking the episodes up into smaller chunks. So expect to see more two or three strip episodes instead of the huge 10 strip plus ones I’ve put up here previously.

Final strip for ACOS 30 almost finished. I hope to put the new episode up tonight and make it public tomorrow morning. I’ve discovered I need to let my cartoons simmer overnight before going live.

Notice I’m using GIMP now instead of Photoshop. After Adobe bricked the Windows copy I spent 850 dollars for I vowed to get myself off Adobe products. They claimed I’d somehow bought a “bulk” license that had expired even before I registered it. They’d let me use it for two years after the alleged expiration date. Then one supposes, since their new rental software business model wasn’t such a big hit, the tweaked their license algorithm and remote turned off my copy when it failed the new check.

I called their support number to ask what was going on and that I’d spent serious money for that copy, and their service droid told me to be more concerned about all the money Adobe was loosing to Piracy. But I’d bought a legitimate license. They even let me register this so called expired license that cost me 850 bucks and use it for two years.

The wonderful thing about commercial software is there are so many different directions they can point their fingers to blame for customer abuse. Adobe of course can blame the vendor I bought the license from that they claimed was already expired when they let me register and use it for two years. But of course, after two years the vendor isn’t much likely to refund my money. And more than likely they’ll claim it was a perfectly legitimate license and it’s Adobe that’s fucking with me, not them. And the fact is, buried inside nearly everyone’s licensing terms, is a clause allowing the vendor to change the terms of the license out from under you whenever they feel like it.

Think about that, those of you who think you have a permanent license for an Adobe product. 

So I’ve switched to GIMP, which has turned out to be a nearly perfect replacement for Photoshop. And it’s open source. But there is one small problem.

GIMP has a well known problem with tablet input devices, like my Wacom. It seems there is a bug in GTK2 that they’ve been dallying with fixing for 5+ years (It’s Open Source!), and the only machine that GIMP works properly on with my Wacom is the MacBook Pro you see here. So for the duration, that has become my art room computer.

Allegedly GIMP 3 fixes all that (real soon now!). There is a development release, GIMP 2.99.2, that allegedly has the tablet fix in it. But what you get, apart from a development release they tell you up front might crash on you at any moment, is a tarball that you have to compile.

I don’t have an up to date Linux system (it’s on my todo list) so I’ll just stick with the MacBook Pro for now. I’m actually really happy with GIMP. It does some things I need better than Photoshop, and its quirks are easily adapted to. I have a reference document I’ve been working on that steps me through a How To in GIMP things I did all the time in Photoshop, like ingesting line art onto a transparent layer. (It’s in Google Docs if there are any GIMP users here who want to look at it…message me) Moving and sizing objects on a layer is very odd in GIMP if you’re used to the way Photoshop does it, but once you understand it the process is very straightforward. Likewise copying line art from one image to another. But I can do everything in GIMP that I once did in Photoshop…at least regarding my cartoons…so I’m happy.

At some point I need to work on moving my photography workflow away from Lightroom. They say there are lots of good alternatives, some of which work way better at things like noise reduction and shadow detail.

I’m finally getting ready for the next three episodes of A Coming Out Story (plus intermissions…). Here’s a peek at the next episode…

I’m going to be busy at my paying job all weekend long, but this episode, and the next two, are only three strips each so it should go quickly. The intermissions, which are the story of my reading The Truth About Homosexuality by Dr. Pompous J. Fraudquack are single strips interleaved with the rest of my storyline, leading up to the moment I come out to myself. I know…it’s crazy but hopefully easier to follow once it’s all done.

Stay tuned…

I’ve arrived at a critical point in my story…the part where I finally come out to myself. But it begins with a crucial bit of it I haven’t scripted yet, and which I am still having difficulty scripting to my satisfaction. Thus, the delay. Again.

I’ve bumped up to the part of my story where I and the object of my affections take things to the next level (so to speak) and actually begin talking to each other, as opposed to just gawking at each other. They say the difference between fiction and reality is that fiction has to make sense. In this case, I’m telling a story about true events, but in a cartoon form that’s hopefully humorous enough that all the gay teen angst and pain and sorrow is easier to digest. It was a hostile world I came of age into. You got a torrent of abuse hurled at you from every direction. And even when some corner of the culture was trying to be sympathetic to you, it was a rancid sort of pity you got. I hope by now anyone following my story isn’t wondering why we just didn’t start talking to each other about our feelings. As it turns out, we were both scared. His way of handling that and mine were different enough, and the cultures we were born to different enough, to make reading each other nearly impossible. So we drug it out for months and months.

But just in case anyone is still wondering, I hit on the idea of intermingling this part of the story with flash forwards of something that really did happen after the fact of my coming out to myself. As I’ve said repeatedly, the story I’m telling is one part things that really happened, one part artistic license, and one part fantasy. In this case, the thing that really happened was I was listening to a radio program where some self styled expert was talking about “the homosexual problem”. I wish I could remember the man’s name, or the title of the show, but it is too deeply buried in memory now. But I clearly recall the impact it had on me at that moment. Audiences nowadays might be repulsed at the shear ignorant bigotry of what the man was saying about homosexuals, but it was pretty standard fare for that period in America. Somewhere toward the end of his presentation, he said that the absolute worst thing a man could admit to, was being a homosexual.

That hit my stubborn nerve…ask anyone who knows me about my stubborn nerve…and I did something immediately afterward that lifted me up, and has sustained me ever since. At some point I really want to get the story to that moment because it’s actually the climax of the entire story, although there is still a lot that comes after it.

I decided to frame it as a series of passages from a book that I’m reading, authored by a self styled expert on “the homosexual problem”. I stole the author’s name from a panel in a cartoon the great underground cartoonist Howard Cruse did, titled Sometimes I Get So Mad… (You can find a copy of it in his collection Dancing Nekkid With The Angels). I emailed him a link to the finished first episode in the story arc, not knowing how ill he had become, and to my everlasting gratitude he once again complimented me on the story, and encouraged me to keep at it because of how important it is for us to tell our stories, because that is how we defeat hate. A few weeks later he was gone. I was, and still am, stunned. I cannot begin to tell you how big an influence he was on me. In a world where even underground cartoonists, sexually liberated though they regarded themselves, were often ignorant, bigoted and hostile toward gay readers, most of whom were either teens or young adults, Howard’s cartoons were lifesavers for many of us. 

I was hoping to push through a bunch of episodes using the device of flashing forward to my reading this book, with passages in it taken from actual publications by both homophobic and mainstream media. Alas, I’m bumping up against the reality of what happened, which is not a simple straightforward timeline of moving from gawking at each other to talking to the moment he put an arm around my shoulders and I went into the stratosphere. That was several months in the making and it was a very convoluted process that played out in our school hallways, the cafeteria, the gym, the Spring Fair (I’ve already flashed forward to that), and the library. It was fearful baby steps forward, then back again, then forward again, and then to some strange only in the early 1970s landscape where we could talk about everything but the lavender elephant in the room. Somehow I have to make a simple cartoon story out of it and I’m still not sure how to. But I’m working on it now.

Because this is such a critical part of the story I need to have a clear picture in my head of how I’m going to tell it, and that clear picture isn’t coming easily. I need to buckle down to it…just push everything else off the table until I get this right. When you see the next episode appear, hopefully in the next few weeks, you’ll know I’ve got it.

Then I need to just keep drawing it…