I’ve been working on A Coming Out Story for a couple decades now. I’ve not been promoting it or advertising it anywhere, largely because I am terrible at self promotion. I’m sure the reason for that lies buried somewhere under all the static I got growing up, first for being my father’s son, and then more generally for being gay in the late 1960s and early 1970s. But it’s been a project that, while it began simply as a one shot slice of life cartoon, then turned into something like a self analysis project, it’s become something dear to my heart. That said, when I posted a link to the new current episode on Facebook and a post about my first try at a Flowbee haircut got orders of magnitude more responses, I got a little depressed. Well okay…more than a little.

The visitors here to this website specifically to look for any new episodes have been very gratifying. Also the random visitors who either read an episode that a search engine somehow delivered them to, and then they binge read all of it. That is Very gratifying. And it helps keep me going. But I have other reasons for sticking with this besides artistic recognition.

I dove into this project for several reasons:

1. To help me understand what happened to me back in my senior year of high school, and how it brought me to the adult I eventually became.

   This part has been pretty well successful. It helped that around episode 11 I reconnected with the object of my affections and I was able, with difficulty, to better understand what happened between us and why it went the way it did. Maybe that’s material for a whole ‘nother story.

2. To let other gay people of my generation know they weren’t alone. We all pretty much went through it. Some had it lots worse than I did, some much better. We were all damaged, but we survived. We should be proud of that.
3. To show heterosexual adults, in a mostly humorous way, how it was to be a gay teenager back when gay folk basically got static from Every direction in the popular culture, and hopefully show them that the world really needs to give gay kids a break. We go through all the same stages of first love and first heartbreak everyone else does, but with the added torment of all the cheapshit bar stool prejudices, plus all the myths, lies and superstitions of the pulpit thumpers. It isn’t fair. What should be one of this life’s most magical wonderful times, the discovery of love and desire, gets turned into a long drawn out nightmare so some righteous creeps can make their stepping stones to heaven out of our hopes and dreams.
4. To let gay kids today know what the struggle was like back when we were kids ourselves. The horrible sex ed class I sat through wasn’t anything out of the ordinary back then. What I was taught was what most people blindly believed about us. I’m planning on concluding this story by imploring the generations to come to delve into our history and keep fighting, or for certain the bigots will bring it all back down on us again.
5. To tell my side of the story.

That’s it. I’ve begun work on episode 37. This little story arc has three more episodes, then the story comes to it’s main climax/conclusion after than. Maybe another year working on it and it’s done. To give you an idea of how hard it’s been to get this out of me, I had the current episode completely scripted back in 2005 and it finally appears here with only minor changes to the dialogue. I have the rest of it done too, except for the very last episode. I’m still thinking about how to end it.

Wherein Left and Right brains have a no meeting of the mind…

I can laugh about all this now, all these years later. But it was no joke while it was happening. I can make the various parts of my consciousness embody as cartoon characters and get playful with it (cartooning is Fun)…and I was a Lot luckier than most of my generational gay peers…but this is pretty much how it went for a while.

I was in love…it was wonderful. And it was alarming. I thought I was above all that mushy love stuff. And then it happened to me. And in that moment I understood why all that dating and mating stuff didn’t appeal to me.

I was never shown a wholesome same sex romance, never told that it was possible.

I wasn’t quite ready to face it. For years I was in denial. And then I got shoved into it. This is why I can really relate to the Cupid in Rick Riordan’s novel, House of Hades…and to Nico in that moment…

“Stop t!” Nico yelled. “It’s me you want. Leave him alone!”

Jason’s ears rang. He was dizzy from getting smacked around. His mouth tasted like limestone dust. He didn’t understand why Nico would think of himself as the main target, but Cupid seemed to agree.

Poor Nico di Angelo. The god’s voice was tinged with disappointment. Do you know what you want, much less what I want? My beloved Psyche risked everything in the name of Love. It was the only way for her to atone for her lack of faith. And you – what have you risked in my name?

“I’ve been to Tartarus and back,” Nico snarled. “You don’t scare me.”

I scare you very, very much. Face me. Be honest.

Really could have benefitted from having those books back then…but it was 1971.

A Coming Out Story – Episode 37, Here.

I’m having a good time now finishing up episode 37 of A Coming Out Story (finally). It’s a good sign when I find myself laughing while I’m adding all the little details after the inks are done.

Speaking of which…I can really fuss over the smallest of lines, especially around mouths and eyes, because just a tiny change makes a Big difference in a facial expression. I’ve redrawn mouth and eyes dozens of times and you might think I’m not actually changing anything, but it’s that little difference that can make a scene work.

So just this morning I was working on one of the strips and noticed I could do something with one of the figure’s eyes that made a big difference in the running gag in this episode. It’s a dialogue between my left and right brain characters and the joke is right brain is completely blissed out and I just pasted the same drawing of him with a blissed out expression throughout the episode. But then I realized I could do something with his eyes in two of the panels that makes the moment in them hit the bullseye and it was so satisfying to see it happen on the screen while I was doing it.

Probably next to nobody will notice what specifically I did, but it makes the whole episode work Much better.

Like I did before, I’m adding the strips to the episode 37 page as I finish them, but no live link until it’s all done and I have a chance to look it all over. But those of you who can figure out how I was building the links to the individual episodes can go see it happening as I add the strips. Probably be finished in two or three days more.

I’m doing episode #36 of A Coming Out Story in a different style from the rest of the series…kinda like how I did it with the “Conversation With God” story arc, where I used a lot of grey tones instead of my usual cross-hatching.

There’s a panel I finished this morning of me walking across the railroad tracks behind what was the old Radio Shack building, and I did a bunch of stuff with it I’d never done before, and made up a lot of new tricks for accomplishing certain textures and such. The lighting is harsh because I’m walking into the setting sun, low on the horizon, and it really pops out in a way nothing else I’ve done on the story does. I wasn’t sure why I was spending so much time and effort on it other than the tracks were an important part of my life there and that was a shortcut to Congressional Plaza that I walked often that doesn’t exist anymore. I wanted to do a piece of my history justice.

But looking at the finished panel I think I see how it works in the story. There was a meaning there that must have been working on me subconsciously and it’s about what this episode is about, and actually the entire story. This is me stepping across a boundary that cut between my neighborhood and that of almost all my friends back then. The old kid from the other side of the tracks stereotype. I’m a gay teenager walking from one world into another. From denial to…I dunno…something else…something much Much better…but still pretty iffy given it was 1971.

Some of my best work on A Coming Out Story is in the episode I’m going to post here soon. I’ve just one more panel to finish and I can put a link up.

…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…