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Buddy Goodboy: Creativity Unleashed Posts

Good Thing: Spatial Anomalies #1 by Scott Fabianek

On the edge of space, a small jumpstation watches over the wormhole that’s essential for interstellar travel. Crewed by a gaggle of misfits and rejects from more prestigious posts, Transfer Relay EBF-0218 is the last place anyone wants to be assigned.

Issue 1 of this science fiction workplace comedy comic introduces us to Zeke, Dawg, and the rest of the aliens, uplifted anthropomorphic animals, and human cyborgs who crew EBF-0218. 

Ezekiel Wilder—Zeke—wakes up from cryosleep to find out that he’s no longer a pilot, his contract has been reassigned, and his right arm and leg have both been amputated. His memory fuzzy from cryosleep, he can’t remember what happened that landed him here, but whatever it was, it was a doozy. As Zeke gets used to his new station and prosthetic limbs, he meets the rest of the crew and finds out instead of piloting ships himself, he’ll be coaching the hyperactive cargo loader pilot Dawg.

This first issue sets itself up for success from the beginning. The characters are well-defined, rounded, and likable, and are primed for deeper development as the series progresses. I can’t wait for Zeke to explore not being a pilot, and see how his new colleagues help him out.

The art is also excellent.

Scott Fabianek’s physical comedy is among the best I’ve seen in indie comics. His sense of setup, payoff, and motion between still panels calls to mind great sight-gag artists like Jeff Smith or Chuck Jones. Top that with endearing and expressive character designs and engrossing settings, and this comic’s art shines.

Scott can be found online at

Spatial Anomalies #1 was published by Fenris Publications, September 2022. 32 pp., prestige format. Buy your copy at!

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“I Learned My Social Skills On Twitter, Now What”

I had an anxiety attack this week. Not one of my favorite experiences, but it happens every so often. I can usually never tell what causes them, but in this case, I know some of the reason behind it.

Twitter’s collapsing.

I didn’t have strong social skills in high school or college, and when I joined Twitter, I still had some things to learn. I’ve been on Twitter for almost ten years learning how to socialize. It’s been a real education in what I can talk about, with whom, for how long, and still retain an relationship with someone.

It turns out someone will listen to me talk about Animorphs, but I have to do it right. It has to be the proper setting, I have to introduce the topic and offer it as a subject, lay proper foundation so we can discuss on a common level, listen, and read the signals for the proper time to let the conversation go.

Not too bad. It took some practice to figure out what “proper” meant. Many thanks to my friends for their help in that. It wasn’t easy, and isn’t always, but now I get to talk about Animorphs and keep my relationship with my conversational partner. (Jake’s my favorite, then Tobias, then Ax. Ask me about it sometime.)

I’ve also brought that practice into my offline life. At this point, sans anxiety, I can talk to anyone about anything and walk away having had a decent conversation. Reading people and situations comes quite a bit easier now. Say hello if you see me in person—I’m always happy to meet you.

But part of me is wondering, if I lose Twitter, will I backslide? Will I lose the social skills I worked hard for and the confidence that came with it? Will I lose the version of me who can be social and charming and unafraid?

Intellectually, I know it’s an irrational worry, but that’s the thing about anxiety. It amplifies irrational worries till they can’t be ignored. It built up. I feel better now that I’ve identified and addressed it.

Anyway, if I’ve been beating the drum on social media the last few weeks, that’s why. Thanks for sticking with me and believing even when I don’t. I’ll continue to see you around, and keep saying hi. I always appreciate it. And if you let me talk about Animorphs, I promise not to talk your ear off.

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Good Thing: JLA Presents: Aztek, the Ultimate Man

Aztek is a deconstructed superhero. He does all the things a modern, ’90s superhero does—has a mysterious past, keeps a secret identity, fights supervillains, saves people from society’s ills, joins the Justice League—but he does it intentionally. The reason behind his actions just may not be what he thinks it is.

Aztek is different from other superheroes of the era because he’s not just the cool, stoic, gritty face of the ’90s. What makes Aztek unique is what he chooses to do when confronting modern problems.

While stopping a mugging, Aztek eschews violence and gives the muggers his own wallet to stop any further violence. His gentle approach and mercy save his life later in the issue.

The interesting thing about Aztek’s villains is that they’d have been protagonists in other books. Aztek’s “villains,” more often than not, see themselves as heroes, and tend to be self-destructive, tormented souls at the mercy of unfeeling monolithic corporate or government interests—a intentional stark comparison and contrast with the heroes of the time. 1996 was not a kind time to be a new superhero; as likely as not, they’d be written as merciless government operatives or crazed vigilantes.

Aztek explores and examines superhero tropes and lets its protagonist decide whether to follow them. Any number of other paint-by-number superhero books of the late ’90s were machismo, posing, and costumes with no sense of morality or self-reflection. Aztek shows all its characters just a little mercy.

Even the name of Aztek’s chosen home city, Vanity, might be a veiled reference to Image Comics, the artist-owned, (at the time) style-over-substance superhero factory that was threatening to outpace DC and Marvel’s classic superhero morality tales. There’s no hope in Vanity, except where Aztek creates it.

Under different writers, the story of Aztek would be much less intriguing—it’s practically a beat-by-beat instruction manual on how to introduce a new superhero to DC Comics in the late ‘90s. Again, though, it’s a deconstruction of the superhero story, so someone else in the story who knows superhero tropes is manipulating Aztek for their own ends. Had the series been allowed to continue, it would have been a very satisfying payoff.

I’d be remiss if I didn’t mention the art by N. Steven Harris, Keith Champagne, and Mike Danza. Aztek is a scratchy, gritty, textured book, with flat, muted colors, instead of the popular oversaturated computer colors popular at the time. Aztek’s white and gold costume gleams in comparison to his surroundings in the supposedly-cursed city of Vanity. It’s stylish without being distracting.

Of course, this being the ‘90s, Aztek was canceled ten issues into his run. His story continues in JLA.

Aztek, the Ultimate Man is a Good Thing.

JLA Presents: Aztek, the Ultimate Man was written by Grant Morrison and Mark Millar, penciled by N. Steven Harris, inked by Keith Champagne, colored by Mike Danza, and lettered by Chris Eliopoulos and Clem Robins, and published by DC Comics.


“Who Am I Off Twitter?”: Exploring Self in a New Online Age of Decentralization

I think it’s safe to say that Twitter was the most important online forum of the last fourteen years. Twitter succeeded at centralizing online communities in one common forum. You have to have a Twitter if you want to be online and be found.

That’s been a good thing in a lot of ways. Twitter’s been a huge boon to communities looking for each other. Personally, I found furries, comics fans and X-Perts, writers and comedians, queer and fat activists, legal professionals, all of whom added value to my life. I needed to find them, and I did.

Twitter’s been great for creators, too. Some good friends of mine have developed fan communities in the tens of thousands, who help pay their bills every month. Where else can a shitposter do that?

But as I write this, Elon Musk’s purchase of the website has gone through, and some of his policies are going into effect. You’ll have to buy verification to avoid your tweets being suppressed, if things actually go through. This signals a new age for Twitter.

Personally, I think it signals the end of centralization, at least for now. Twitter as it has existed is not likely to continue indefinitely. People are already starting to spread out their online presence to other forums, just in case, and I think that’ll continue for the foreseeable future.

The splintering of online communities will have an apocalyptic effect on creators trying to make a living. Instead of having one central space to market their wares and build audiences, they’ll have to divide their time among multiple different forums, just to keep up.

There is one positive angle, though: people won’t have to flatten their personalities to one dimension to maximize their appearance in an algorithm. In a single centralized forum, people can’t code-switch or explore multiple sides of their identities if they want to be found.

Me, I write worksafe and non-worksafe material. I draw general-audiences cartoons and explore more sexual and adult themes as well. I build model kits, I play music, I get political, I get up in arms about social injustices… I do a lot of stuff. I can’t do it all in one place. I certainly can’t explore NSFW subjects in every forum, nor should I.

If there’s one positive thing about diversifying my online presence, and moving away from solely relying on Twitter, it’ll be that I get to show my whole self online.

And that goes for you too—this is an opportunity to showcase more of yourself than a single forum’s algorithm would have allowed. Try something new.

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The Puppy and the Ape

I’m Buddy. I’m a writer and cartoonist. I have inattentive-type ADHD. I have went a path through my adult life littered with hobbies and pastimes which have come and gone, but I’ve wanted to write since I was a kid. This is one pastime I really don’t want to let go of. 

The problem with writing more than a microblog is that it takes more than one session of concentration to get thoughts clear and concise. It’s not easy with inattentive ADHD. My brain works like a puppy, i.e., it runs around chasing what’s interesting in the moment, instead of planning long-term like the smart ape it is.

I’ve tried blogging before. I did longish-form blogging on legal subjects and some artistic subjects about five years ago; I lasted about a year before I tuckered out, and that includes a few months of flagging attention and posting. I had a few good articles, I thought. I’ll probably post some here.

The new relationship energy with this blog is still strong, so I’m getting a kick out of writing again.  At some point, I’ll have to figure out how to keep going and maintain discipline when the dopamine rush isn’t there anymore. 

Yes, I have a planner, I bullet journal, I break tasks down into digestible chunks and try to get a reasonable number done a day. Those of you with ADHD are nodding your heads right now, I hope!

So, I kick the question to you, friends—what do you do to keep interest in a long-term project?


Good Thing: “Make America Great…” by Cosmik (ft. Rhubarb the Bear)

“Make America Great…” made me wanna trip up the apples, open a box, break open the piggy rattle, and throw some bees at Cosmik. If any of that made sense to you, just click the download link now.

This single takes the tradition of Cockney music-hall shanties and brings it to the modern day with clever lyrics and a fun conceit. It was even featured on Dr. Demento! Brief content warning for some explicit language.

Cosmik is a Florida furry musician who plays multiple instruments, sings, composes, and plays live at a number of venues including the Winter Park Playhouse and Walt Disney World. His music is classic with a modern twist, clever in the mold of Tom Lehrer and Cole Porter.

Cosmik and Rhubarb will be performing at Nordic Fuzz Con in February 2023 and Mephit Fur Meet over Labor Day. Check out Cosmik’s Patreon and Bandcamp in the links below.


Good Thing: Ramen Wolf & Curry Tiger

Ramen Wolf & Curry Tiger, vol. 1, by Emboss. 

This is a slice of life manga set in a Japan where anthropomorphic animals and human beings live side by side without serious issue. Gourmand wolf Mita Jiro (Ramen Wolf) embodies Robert A. Heinlein’s proverb “Everything in excess! To enjoy the flavor of life, take big bites.” Contrariwise, Yanagi Kagetora (Curry Tiger, or “Currytora”) is hesitant around people and ascetic, mostly preferring solitude and bland, prepackaged meals. But they spend their days off together exploring Japan’s various ramen establishments and enjoying food in company. Their friends notice how close they’ve gotten and try to figure out what they see in each other.

This only the first volume, so the story can be a tad episodic and shallow until they get to the centerpiece and reveal how Jiro and Kagetora met. It’s disarmingly light in tone, but promises to delve into character backgrounds and motivation as more volumes release. The book also teases a romantic relationship between Jiro and Kagetora, but doesn’t make it explicit. I’d appreciate more explicit LGBTQ+ content in future volumes, and certainly hope Emboss is allowed to explore it in depth. As it stands, Volume 1 certainly worked up my appetite for more.

The art is the main course. Emboss shows solid fundamentals in anatomy, backgrounds, and layout, and throws in male eye candy without it getting in the way of story. The presence of anthropomorphic animals makes Beastars immediately spring to mind, but the art is closer in style and tone to Kiyohiko Azuma’s Yotsuba&! It’s charming and cartoonishly expressive while feeling grounded in, if not exactly realism, verisimilitude. That Emboss can make Kagetora so adorable and identifiable in a childhood flashback speaks well to their skills.

Looking forward to the next volume. If it sounds good, buy from my affiliated link below!