The Fap Is Back

Wow, it’s been a long time since I posted here. I’ve been so focused on depcom, that I forgot this was here. The last post on this blog is a post dedicated to blasting the Star Wars franchise, a blog post that actually got me an interview on the BBC. Unfortunately, the post was old and I didn’t really feel like that anymore (not that I like the franchise any more, I care less). But anyways, after two years, it’s definitely time for an update.

There will be more Sexy Losers strips starting in September. I don’t know why, motivation is kicking in or something, but there will be a 15 strip run of comics in the next little while. What will you expect? More of the same. Why do anything new or different.

All of the strips in the next little while have already been written and sketched out. All of the strips are new ones that didn’t appear in the brief Tumblr Thin H Line run except for the conclusion of the Shiunji thread, which I just gotta do at some point.

What to expect:

  • NINE of the strips will be a running thread of the Shibata family. Here’s a preview of a strip currently in production:
    I know, I know, not amazingly funny yet, but that’s as far as I can go for this SFW blog post.
  • Another Clueless Cuckold strip.
  • Gender-reversed Swearing friend from #275 becomes a thing.
  • The Incredibly fertile woman has some children, as usual
  • A Harry Potter fan fiction!
  • Dutch Wife Fairy
  • Mike slappin’ his stick once again
  • The aforementioned Shiunji/Suicide Girl conclusion. I’m redrawing it and putting it in color.

There will probably be more but these are the ones I’m committed to doing. There is a subscribers list on the Sexy Losers site, you can sign up there if you would like the strips sent to your mailbox.

Why the updates? 2016 has been pretty grim. Maybe I can generate a couple laughs and make things a little less serious for people for a few minutes. I think we all need it.

Why I Hate Star Wars

From the title, you might be thinking that this is a post from someone who has never liked Star Wars, and is just looking to grumble about something. But no, as a child who grew up with Star Wars as a major interest in his life, I can tell you that I’m writing this with a grand sense of disappointment and recently came to understand why this is so.

To understand this, I had to go back to 1977, when I was first exposed to it. My older brother took me to a store that sold comics and showed me the Giant-Size Star Wars comic book adaptation by Marvel. He said to me, “We are going to see this film” and he bought the book to read it to me. Unfortunately it was only the first half of the adaptation, and I would have to wait until I walked into the movie itself to find out how Luke, Leia, and Han got out of the Death Star.

I walked out of that theatre a fan. I had never seen anything like it. New worlds, new life forms, spaceships and an environment that looked real, and regardless of how fantastic everything was, it felt like something that could exist. The fire of my imagination was ignited and I could never be the same anymore. My life was now Star Wars.

I had to have everything Star Wars. My first toy was a Kenner R2D2. Soon I had toys, coloring books, the novelization, the board game, a set of blankets and sheets for my bed. My Christmas wish list was all Star Wars. There was simply nothing else that quite captured my interest like that.

I couldn’t wait for The Empire Strikes Back to come out. When I heard it was going to be Chapter V of a larger series, I nearly wet my pants. I found the novel adaptation and read it in a night. I was ready.

The Empire did not disappoint. It was full of images of fantastic things I had not seen before: four legged ATAT walkers advancing like the mechancial animals they were, a violent whirlwind of rock that was the asteroid belt, home of huge worm-like creatures, and a floating city in the sky. Then there was the Force, which did amazing things if one just believed. It was all too much and the imagination was fired up again.

The Star Wars series, although it was a simple story at its base about a boy who saves a princess from evil, used that plotline to advance us from one incredible situation to the next, to blow our minds away with the previously unseen spectacle before us. It was not just a movie, it was an Experience.

Six years later from that fateful day I entered the movie theatre in 1977, Return of the Jedi came. I eagerly sought out the novelization, read it in a night, and then a couple of days later waited in line to see the movie just as it came out. The anticipation was intense.

Return was good. But there was something different about this one. It just seemed to lack something essential, something that brought me into the series and made me a fan in the first place. My imagination wasn’t fired, it was more like closure. Star Wars was over, and it was time to move on.

What happened? The first episode had closure, but it inspired me. Return didn’t. It just made me want to move on.

Now that I look back, I can see why that was. Return was already old when it came out. There wasn’t anything terribly new or imaginative in it. For the first part, they went to Tatooine, the desert planet in the first Star Wars. It was based in Jabba’s palace, which was a more expenisve version of Mos Eisley. From there, Dagobah, where we had been in Empire. Then, another Death Star, in orbit around a moon that was just a big forest populated by real-looking teddy bears. The only really novel thing was the speeder-bike chase, which was in the middle of the movie. The Death Star was destroyed in a way that was pretty similar to the old one, except in a hole rather than a trench. It was simply a retread of old ideas. The imagination was gone.

When the prequels were announced, I wasn’t really that excited. Back to Tatooine, a planet that was initially described as a place farthest from anything that happens. More fighting in spaceships. More lightsabre duels, except they are getting longer and more aerobatic. Simply more of the same, without the imagination for the fantastic that made the series come alive in the first place.

The original movie told us we were going to a galaxy far far away, but now we were in a place we knew too well. Without the amazing backdrop and the jaw-dropping visuals we were left with the plot, which was always a little lackluster. THe universe of Star Wars was no longer something to be discovered, but well-worn territory.

And as Star Wars becomes more and more commercialized, the more familiar it’s become. And the awe that I felt as a little boy disappears with it.

I think that’s why I can say I dislike Star Wars now. But even though the imagination has died in it, TV and movies that inspire are still being made, like in Star Trek: The Next Generation, Harry Potter, The Lord of the Rings, and more. We still get to see strange new things and visit places that are unlike our own. I hope in the new series planned for Star Wars it remembers the promise of a galaxy far, far, away held, and bring us to someplace that makes us believe in the unbelievable.

EDIT: this post was made a year ago, before there was a director announced and definitely before we got to see some trailers.  Free from Lucas’s control the franchise may breathe. But I don’t believe it will have the impact that the original did. There is a lot of amazing entertainment nowadays, and the bar is far higher than it was in 1977. But it’s possible that it will get the bad aftertaste of the prequel series out of our mouths that has lingered so long.  But what made star wars so great was at the time there was nothing like it. Now it’s very familiar territory. And I have the feeling that people are looking forward to the movie not exactly to see something new, but to relive an old experience.

Sorry to keep you waiting …

It’s been a while since I posted and I apologize. I’m a terrible blogger because I always think twice about what I say, and hence, usually delete what I write.

Some good news though.  The income from the site now pays for itself so it’s no longer something that costs me money to maintain. However, I have to admit that this is temporary because as the site attracts new readers, costs will go up accordingly. I’ve had to upgrade the hosting plan in January, and now in February it looks like soon I will have to upgrade once again. But this is manageable, and it looks like with Google AdSense and people’s generous donations, keeping the site alive will no longer be out of pocket.

Now the bad news: the display on my laptop died. I can get it to work by plugging in an HDMI cable to the TV, but this is really annoying. I will have to buy a new computer soon, hopefully by March 31. Japanese sales tax goes up 3% in April, so I will have to consider what kind of computer I need soon.

Other things I have to think about is a redesign of the depression comix site.  There aren’t a lot of good designs for a vertical comic and WordPress isn’t exactly suited for this kind of thing. Which is too bad, I think WordPress is awesome and has a lot of potential but as I said, it’s still not great for comics. There are a couple of comic themes and plug ins but they aren’t that great; there’s a tendency to make comics as custom posts when I think it’s better to have comics as regular posts with additional functionality through custom taxonomies and custom fields. Currently, if you look at the sidebar with the character listings, that’s all done with custom taxonomies tacked on to regular posts.

Another thing I have to think about is what I’m going to do with the site. At first I thought it would be a blog thing where I post everything I do but all I do is related to depcom anyways so lately it’s just been a verbose mirror of that site. I’m thinking of making it just a portfolio site with links to SL and depression comix and get rid of the blog functionality.

Anyways, I’m still alive. I’ve also been blogging at the depression comix blog at , and that’s a strictly depcom blog with no mention of anything else I do artistically (ie Sexy Losers).

Recent developments

Well, some bad news happened to me, the company is restructuring and I am being pushed to a new department, one that has terrible hours and coinides with my part-time job, which I will have to quit.

What this means is that financially I take a bit of a blow. There’s also talk of reducing salaries so that’s something else to consider.

Although I am not happy about this in the least, there might be a silver lining in this in that it may be what I need to push me to make online comicking my part time job, and I would enjoy that more than my part time job. The question is, is it possible? Can I replace my part time job by doing depression comix and related work?

That’s a good question, and maybe now is the opportunity to find out. Unfortunately, with the traffic I have now, it’s not steady enough to be a reliable source of income. When Iwas linked by i09 I received over $50 that week in Google Adsense, but the following week it died down so now my average is about $0,50/day.

To add to all the problems, the display on my laptop is dead, I can only get it to work by conecting a HDMI cable to it from my TV, which is not an optimal solution. I will have to buy a new computer very soon.

These problems will have to be solved. The last thing I want to do is give up comicking now that I’m slowly making a comeback. I will have to find ways to make this work.

Why the focus is so business oriented lately

Way back in the day when I was focused on Sexy Losers, the site bounced around from server to server because it always seemed to require more bandwidth than the provider wanted to give. After one bill of over $250US I decided that the only way for me to have Sexy Losers online somewhere is if someone would host it for me. At first, it was the Stile Project, who put the most vile adult ads possible on it. As more and more ads were being placed on the site without my input I decided to move to KeenSpace, another free hoster with ads but the ads were much more managable and less offensive (although the argument is that Sexy Losers was itself pretty offensive, it didn’t take itself seriously but those ads were serious and thus creepier). During this time, I should note that I never made a penny from any of these ads, and at the time I was more focused on avoiding another $250 bandwidth bill than anything.

I ended up leaving Keenspace because even though Sexy Losers was the most popular comic on it at the time, Keen would never promote it or share in the advertising money, despite it saying that it was possible. After a few Keen honchos said some disparaging words about the comic, it was time to leave, and a reader who had a server said I could host SL there if I ran some ads, and that’s where it is today.

I had the opportunity to meet this person last year, and one of the things he had said stuck in my head. He said that the ads on the site helped pay for his college tuition. In my recollection, the ads never made any money, and I received very little ad money myself, although he did renew my domain a couple of times.

Hence the story of Sexy Losers was how I was making money for other people but very little of it for myself. That bandwidth bill scared me so much I let other people host the site and pocket the ad money, while all the time I was working for them for free. Pretty stupid, huh?

I guess the lesson I’ve learned from all this is that if you’re doing work on a free site that collects ad money, you’re basically working for someone else. All your hard work is profitting other people. And you think they’re doing you the favor by letting you host your work there.

After that meeting I knew I had to get depression comix off Tumblr/ and onto a site that if it had to have ads, the money would not go to someone else. Even if the money was a pittance, I would at least know how much money is being made off of my work and would get my share of that pittance.

At some point I’m going to move Sexy Losers to a place I can control. It makes no sense to continue having it online not doing anything for me. I won’t be able to put ads on it probably, but I will be able to link it to a shop that would sell merchandise or something that would have the possibility for some kind of revenue.

The lesson here is that my work should have been more important to me, and I let other people profit by it because I did not believe that it was good enough to make my own money from and that I was just very lucky to have someone host it for me. No, the important thing is to control your own work, and if other people are making money and you’re not there is something very wrong.

New Years resolutions and the business side of depcom

This year I decided to make a New Years resolution for myself: This will be the year I will try to run comics more from a business point, and my personal goal is to make a profit of $100 every month in 2014.

In the grand scheme of things this is both a small goal and a lofty one. It’s a small goal in that $100 a month isn’t going to make me rich or make me quit my job or anything like that. But it’s also a lofty one because I’ve been doing this stuff pretty much for free since 1997, and I’ve always stumbled badly on trying to derive some kind of income from my work. To make a goal like this and try to make it work myself is something really new for me.

I’ve been trying to figure out ways to do this. It’s not easy, but because I’m focusing only on Depcom it’s much easier than it would have been for my other comics. Here’s some of the things I’ve been trying:

1) PayPal Donations: Thanks to the incredible generosity of a number of people, this has been the most successful way of generating income from the comic. There are a couple of problems with this: it’s not stable income and PayPal Japan doesn’t like to allow individuals donations so I can’t make the process any easier — people have to login to PayPal and send money the hard way. The next trip to Canada I take I will reopen my bank account there, and hopefully be able to run it from Canada where the rules aren’t so strict.

2) deviantART prints: This seemed like a good idea, offer people the ability to buy prints from deviantART and I would receive 20%. I spent hours and hours uploading all the raw images and formatting each one for the various print sizes and merchandise sizes only to have one sale. Perhaps this option is not obvious enough on the site, but it has been a waste of time.

3) Google AdSense: This was a bit of a battle to get accepted but I did in the end, and I had it all set up by the time I was linked by i09 and my traffic soared. Google AdSense is not a lot of money at all — I’ll probably average $0.20 to $0.40 a day with it — but it’s money that happens without me having to do anything. Currently I have an ad in the sidebar and one at the bottom of old posts so they aren’t particulaly distracting, and I’ll keep it there.  As a sidenote I banned the ads from Scientology — I do NOT want to send anyone there.

One of the things I would like to try this year is an eBook. Perhaps the first 100 strips of Depcom or A Heart Made of Glass or something like that. I’ve been playing with things like PressBooks (too expensive) but I really don’t know where to start with this, in terms of software, templates, etc. I am truly clueless about this but I know it’s a step I should take.

Anyways, I will write more about this, this is a learning experience for me and I&d like to communicate my experiences in this blog. More to come.

Under the shadow of hyperbole

I started this comic fairly spontaneously in September, 2011 although I had been mulling over the idea some time before. But the start was spontaneous, a bad day was had and the next day two new depression comix appeared. The initial response from the small group of people who were following my thinhline blog was positive, so I continued it in addition to my thinhline comic. Depression comix quickly became more popular than the thinhline comic (it was only a couple of months before the numbers of followers for depcom had surpassed thinhline; a couple of months later still the numbers were double that of thinhline). This prompted me to dedicate myself more to depcom, partly because it had more readers and partly was it was different enough from Sexy Losers or Thin H Line that it was much more interesting to do.

Things were going well but later that year, I hit a serious speedbump in the form of Hyperbole and a Half.

I hadn’t heard of the comic before then. Suddenly, I was nearly drowned in mails saying I should check out this blog, which I did. Because I was maintaining a page on depression-related comics naturally I was interested. So I read it, added it to the list, and went on creating comics about depression.

Of course, being out of touch with the scene for so long I didn’t realize what a news event the Hyperbole post was. It generated a number of articles and interest in the role of depression in webcomics. Occasionally depcom was included, but it rarely appeared without Hyperbole. Depcom seemed to get attention as a sort of afterthought in articles directed at Hyperbole.

When the second Hyperbole post appeared a year later, this didn’t help matters at all. In fact, I remember bracing myself for the impact, knowing that all I was going to hear for the next little while was about Hyperbole. I adjusted many of my ideas to avoid overlap, in fear that my comic would appear derivative of Hyperbole. I was doing depcom under the shadow of that blog, and I knew it. I had to resign myself to the fact that when people talk about depression and comics, depcom would not be the first name that would be dropped despite its focus.

Recently it has forced me to think about my own comic and what makes it different, and try to consider how to make those differences into stengths.

Allie Brosh’s work is truly wonderful. It’s a personal description of depression written with lucid and striking prose, and with art that is disarming because of its simplicity. She removes the heaviness through her wit and charm, making it easy to read and digest.

Thankfully, I started depcom from the idea that I wouldn’t be describing my own situation. I planned to draw a number of different characters with depression, to try to make it more about depression than a story with some characters. I think this approach helped in making it unique and relatable; it’s not about anyone in particular. It could be about anyone.

But another area where depcom departs is that Brosh’s depiction, like her regular blog entries, is done through a sense of childlike wonder. It doesn’t go into the darker territories of depression, such as how depression destroys relationships and drives one to suicide. Her story sticks with lack of energy and motivation, the self-hate, and anhedonia. The majority of those who suffer depression deal with this, and there are those like myself who go further down towards the destruction of all personal relationships and finally the destruction of oneself. To me, this is where I really want to communicate, as a sufferer, about why this path is so seductive and my own thought processes got so twisted up that I believed removing myself from the planet was the best thing I could do for it.

But also recently I’ve seen the comic as a way to help other people. To inform people of current research, to help people who have depressed people they love, and to help people who are depressed themselves. Recently I’ve added a page for those who need help, and have connected to Five Cups of Tea, a 24 hour chat support site with trained listeners. This is just a start, Iplan to do more.

But what I really want is to try to get out from under the shadow of Hyperbole. To be a site that not only informs but helps. This is the direction I plan to go in, and I hope I have your feedback to guide me.


I haven’t posted recently, but I’ve been doing a few things that I’m a little proud of. The biggest one is that I wrote my first plugin for WordPress. You can see this plugin in action on the site if you look at any of the individual posts. On the right hand side bar, there will be a widget with post information, including some simple navigation where you can go to the next post or previous post with a thumbnail of the corresponding comic. Nothing earth-shattering, but WordPress is not exactly suited for comics, especially a vertical comic. I plan to make more plugins to increase the functionality of the site. It’s also a good excuse to learn php and css, and eventually I would like to create my own theme for the site.

On the Great Mistake … Part II

Rereading what I wrote, I was pretty harsh. That’s even after I edited it twice to get some of the harshness out. But truth is harsh.

I understand a lot of people enjoyed the series. It was one of the more popular webcomics at the time, and although I couldn’t translate it to any kind of personal success, I respect that there are people with fond memories and stuff.  But the post is not about those people — it’s all about myself, and how I could not make it work for me.

However, I invested a lot into it and I found it difficult to leave it and go on to do something else. This was very apparent when I tried to revive it on Tumblr with the Thin H Line series. Although there were one or two strips that had enough social consciousness to get reblogs, for the most part, it was still something people were reluctant to follow or share.

This is not the fault of anyone but myself. I didn’t see the writing on the wall when it was there. When I met my old friend Bryan O’Malley in 2004 he brought with him a copy of Lost At Sea. We were all part of the same group way back in Toronto in 1999, and through his tremendous effort and dedication to his craft, as well as an uncanny sense of how to connect to the audience, he became a respected comic book creator whose work became a cult-classic movie. That should have been a kick in the ass, but no, I just got him to draw me another panel for Sexy Losers.

So you see, I only have myself to blame. And that’s what’s so bittersweet about this, is all the work that has added up to so little personal success. The dedication I had to the content, the personal assurance that this was not all in vain, kept me producing a comic that was providing diminshing returns.

And oh yeah, the friends I lost along the way. Bryan, up there, for example. The other OFU folk. Space Coyote. The OCAD group. The people on Keenspace. A lot of people I miss. Most of these people have work that appears in Sexy Losers, and it’s sad to see it sometimes. There were better days and good laughs.

But if you enjoyed it, that’s good. I’m only looking at this from a personal and professional perspective and what it’s done for me as creator of the strip.

On the Great Mistake that was Sexy Losers

EDIT: There are still people reading this post, so I thought I’d edit it a bit to be clear on some points. Edits appear in bold except for the paragraph headings.

People still ask me to continue Sexy Losers. Some are kind of nice about it, other people are just rude. In response to this, I will lay out why doing Sexy Losers was a huge failure both personally and professionally.

1) The strip can be used against me.

This is ancient history but back in 2001, I had dated a woman who knew about the comic back when it was the Thin H Line. We broke up, but she decided it would be fun to try and get me fired from my job, enlisting people anonymously on the web to harass me and my employer. Included in the information she gave people was my personal phone number, address, and the Thin H Line website. When I discovered this I took down the website and gave it a new name (Sexy Losers) but in the end I realized I needed a lot of personal distance between myself and the website lest it should ever be used against me again. The best way to do this was to not ever tell people in my personal life that I did this strip, and kept it a secret.

I guess I kind of gotten so tired of telling this story that I was too brief. I didn’t get fired, but she did get me investigated. They figured it out for themselves it was from a vengeful ex, but yeah, it was a horrible paranoia inducing experience.

Back home in Canada, a couple of people in my group of friends started spreading rumours about me, pointing to the comic as evidence for me being a terrible person, because a good person would not make a comic like that. When I came back to Canada, very few of my old friends would meet me, and would not tell me why exactly, but the comic did come up.

This was another horrible experience where people would tell me outright they hated me on public forums, telling me “you know what you did.” When I asked what it was that I did that was so terrible, I got “I have promised not to tell” responses, odd since if I did this thing I would know anyways. But instead of fighting it out, I backed off because it was just making me miserable. To this day I still don’t know, and in the end I had to turn my back on the last group of real life friends I had.

I guess in the end you could say that the comic, because of its content, was definitely much more of a personal liability than any kind of accomplishment.

2) It was difficult to advance professionally because of it.

The content of the strip was either a love-it or hate-it affair, and many people had strong feelings against it. Way back the comic was on Keenspace, and became the most popular comic on it (it had 15% of the traffic on it). There was also KeenSpot, which was a place where one could get more exposure, get paid for ads, and generally start to see some income and rise to professionalism. Sexy Losers did not graduate to KeenSpot despite its popularity, it was declined for the content. The content definitely made it difficult to find hosting and support.

This was uglier than it sounds. The emails that discussed why Sexy Losers was not accepted into Keenspot were leaked and I got to read what some of my peers candidly thought of me and my comic. It was not very kind about either the work or the kind of person who would make such a work. After reading that, well, I gave up all hope after that, and I had to leave Keenspace, the last online community I belonged to. So you can kind of see I was growing more and more isolated as time went on.

3) It was very unprofitable.

I don’t do this for the money, but because I want to live in society I have to do things for money, like have a job. Now wouldn’t it be great if I could draw comics and not have to worry about having an unrelated job (or two) to pay the bills? I could never cross this barrier with Sexy Losers. All the ads on the site barely paid for the hosting let alone enough money to think about quitting my job. I couldn’t merchandise or anything, because no one would have anything to do with it because of the content.

At one point, PayPal decided to close my account without a warning, citing the content of my website as the reason. I realized that because of this I was now cut off from a lot of ways to make income from the site, including selling artwork or merchandise. PayPal donations were cut off as well. Certainly there’s an argument that there are a number of alternatives to PayPal, but the problem is no one uses them. PayPal is the Visa/Mastercard/American Express of the internet and if one doesn’t have access to it, one is severely penalized for making transactions on the internet. For a budding artist, not being able to use PayPal will make it very difficult to create any income.

That’s not to say it wasn’t completely unprofitable. A number of people made money by putting ads on the site so I could get hosting. Just not me.

Ergh. Yeah, me doing the comic made some people fairly decent cash, while they insisted at the time that the hosting was barely breaking even. I found out later this was not the case. I was told that the ads from the comic helped one person who hosted me to pay for college. I really have myself to blame for being taken advantage of but it still hurt to know how naive I was.

4) It was depressing.

A big part of why I stopped updating regularly was depression. Not that Sexy Losers was the cause, but it contributed, for many of the reasons stated above. Finding the will to draw another strip for a comic that seemed more and more pointless as time went on became harder and harder.

Not to mention how isolating it had become. At first I was drawing the strip with real life friends, soon, sharing the strips in chat rooms, then just between a few friends on Aim, then finally, no one at all. Some of these were my choices but some were made for me. In 2007, after drawing a few strips that seemed to go by unnoticed, I decided to pack it in, first with the comic, then my life. And as I seen my friends slip away from me repeatedly, I honestly thought no one would even notice. This is how isolation can kill you… By making you believe that you are already gone.

The reason why depression comix is so easy to do now is because I don’t have the content problem to worry about. Regardless of its themes that include self-harm and suicide, it is much easier to progress because of it. I can have PayPal without fear of losing the account, and that’s a big thing. People are more likely to share my work now. And maybe at some point, I’ll be okay with telling people in my real life about it. I won’t have to hide in the dark like I did with Sexy Losers.

So when people say I should get back to Sexy Losers, I cannot see a reason why. There is no personal advantage in doing a comic like Sexy Losers. It has been slowly dawning on me that it was a great personal failure and one that has derailed my dream of becoming a professional comic artist, a mistake I am trying to fix now (but is probably too late).

(As a side note, although I did lose a number of friends during that time I gained a few too and for that I am happy. Making those friends was not a mistake, but I wish there was a better way of meeting your acquaintance.)

A lot of people have told me since this post that they did enjoy the series. But this post is not about that. It’s about what I was going through. And if people enjoyed it, it was a world removed from where I was, friendless and broke. It’s great that people enjoyed the comic, but unfortunate that nothing positive came out of that.

In the end, I had a bad depressive day in 2011 and wondered, “what if I can draw this?” Now here I am drawing again, connected on Twitter, tumblr, and all these social networks and I’m not so isolated anymore. So this story does have a happy ending, I took my illness and made it into a strength. Recently I’ve been redoing some strips I did in 2011 and adding them to the sexy losers series, you can see these on my claycomix tumblr account. I’m up to #272 I think. Things have changed a bit. I’m still isolated, I have very few real life friends but I’m more connected. Who knows, you may see Mike, Shiunji, Mrs. Shibata, and that woman who always seems to get pregnant soon.