Jhonen Vásquez's Blog, page 8

I’m going to Sacramento.

That’s right, I’m attending something called ‘Sac-Con‘ in our fine state capital this very Sunday, and I can’t wait.  Okay, I can wait, but I’ll definitely be there at this convention of sacs.

This is one of those things that, when I tell people I’m attending, I’m met with a bunch of “why are you going to that?” kind of responses.  Sure, it’s a teensy little con out in a place not exactly famed for comics, but the Deftones came from there, so it can’t be all that bad.

It’s actually the second of my “why are you going there?” conventions, the first having been the Comikaze Expo that I did earlier this month.  That one I did because a friend of mine was involved with putting on that particular show, and it was the first big convention that I could actually just walk to, so I figured why not.  It was a little too celebrity/pop culture focused for my tastes, with comics taking a sorta slummy second to everything, but it was fun and big and I met someone from ‘All That’.  I never watched more than a few minutes of All That, but I guess someone will think I’m cool for having sat in a green room with the redhead from that show.

This Sac-Con thing, aside from having a hilariously vulgar sounding name, I agreed to go to for similar reasons.  I was in Sacramento, hangin’ with fellow SLG comics goblin Chris Wisnia, talking to him about a comic idea I wanted his help on, and he asked if I knew so and so and I said yeah so and so, he’s a nice guy!  Turns out so and so puts on a lil comic convention in Sacramento and was wondering if I’d consider showing up.

I generally don’t do too many appearances a year, just Comicon in San Diego usually, but I figured I’d get to hang with some friends in Sacramento and see some people like Rikki Simons (who actually lives in L.A, but only leaves his house for conventions).  Also, the convention will be so small that I’ll strut around like I’m a fucking KING, you hear me?  I’ll point at some kid at his table and his table will burst into flames because I can do that kinda thing, okay?  Maybe I’ll just sit and sign things instead of do that fire thing because you never know what I’m gonna do next even though what I’m gonna do is probably NOT make things burst into flames supernaturally but not because I can’t.

I’ll probably have the remaining mini prints that I took with me to Comikaze Expo, so if you’re into mini prints with robots on them, lemme know and I might fold one up into an airplane and throw it directly into your face in exchange for whatever I want.  Sweet deal, I know.

 

 

Robo mini-prints for Comikaze Expo!

As four of you may know, I'll be at the Comikaze Expo starting tomorrow, November 5-6.  I'm not entirely sure what I'm doing there, but my friend talked me into going and now I kind of hate him, so that's pretty cool.  I'm a "guest of honor" at the thing, and that means I get to sleep with any man's wife first on the day of their wedding.

Anyhow, as is my way, I'll be there with a fresh clutch of customized mini-prints, just out of sight (stuffed down my pants).

This time around it's a print with robots and an inventor lady who, I'm just gonna guess, makes robots.  Each print is signed and has a custom, leaky, floating, disembodied robot head inked right onto it by one of my body parts (I'm not telling! HEEHEE!)

Same setup as the past couple of times I've done this: I'll have only 30 prints on me, each print is $35 and can be purchased after delivering unto me the password.  The password is secret, so I will tell it to you right now.

The password is "AREN'T ROBOTS JUST THE BEST?  BEEP BOOP BOOP."

What isn't necessary, but would be greatly appreciated is if you could say it with a kind of easy going, souther drawl as if you were sipping a mint julep and just sitting on that there porch of yours, waiting for the kids to come home only they'll never come home because you don't have any only you've just gone mad from loneliness and old age.

Also, on the Beep Boop Boop part, maybe you could do a little robot dance.  Yeah.  Yeah…you know what I like.

 

 If you're planning on going, I'll be there Saturday and Sunday signing THINGS and being on panels where I'm just confused and mumbling.  CHECK IT OUT!

Johnny the Digicidal Maniac: UPDATE DEUX

Funny, I mentioned watching Star Trek: Voyager in the last update about these JTHM digitals, had a marathon of it running while doing a lot of the scanning for the JTHM pages, and I realized that Voyager had premiered the exact same year that JTHM comics began infiltrating comic book stores around the world.

Coincidence?  YES.



Alright, maybe I mentioned I've scanned about four issues worth of JTHM already, but since then I've done a fair amount of work in doing the cleanup, corrections and layout for issue #1.  It was a much more time consuming and harrowing ordeal than I had planned on, but here I am, still alive to tell the tale.

Before I get to that tale, however, I think now's a good time to share a curious reaction to my announcement that digital versions of the JTHM series were even going to happen.   More than a few people wrote to me to say that I shouldn't be touching the series at all, that to change alone.  I get what they're saying, but it seems too weird to me to think that fixing typos, mistakes that were made not creatively, but simply on a grammatical level, changes the overall vibe or message of the book (be kind to others or stab them).  Like I said, I get it, but I think the reaction is a bit…reactionary.  I even made a joke about it in the announcement in the form of a George Lucas joke, but it went over some heads and those heads be upset about me adding Yodas into scenes where there weren't Yodas before.

Other people have asked if and how the digital versions would offer anything new or different from the original run of the print versions.

Here I continue my harrowing tale about reconstructing issue #1, a tale which answers, assuages, or confirms some of each curious/fearful fans' hopes and fears!

I knew from the start, just digging up the original pages for the comics, comics drawn on paper almost a thousand years ago, that things were going to be rough.  See, the comics you know and love or hate but still buy because you're fucking weird, those weren't terribly digital at all.  In fact, most of those pages, front to back, entered the printed comic world via photography.  Those cover paintings, those pages were photographed and  went through a few generations of transfer until they ended up as comic pages.  This means that they lost a little bit of information with each generation, and that's not really a bad thing in the case of JTHM books.

When I looked at the original art, I was a bit horrified at how lax I was in cleaning the pages up at all before apparently sending them off to become a professionally made comic product.  These bristol pages were attacked with heavy #2 pencils for sketches, not non-photo reproducible  blue-line pencil, and then that same piece of paper, usually, was gone over with ink for the inking stage.  The original art still has a LOT of the original pencil work all over it, which makes me wonder if I owned an eraser back then.

Now, photographing those pages and losing information over a few passes sorta helped out there, leaving the mostly sharp lifework to be visible, but scanning these pages digitally, well that isn't nearly as merciful as that original process.  For the pages that were simply black and white lifework, it's not as bad, but, depending on the page, it could still be pretty bad, with the pencil work translating as crusty black pixellation, and no amount of adjusting the image threshold results in a perfect image.  Those pages I'd have to go into Photoshop and whittle away with the eraser until all the horrible black smudges were mostly removed, being careful to reference the paper comics to see which smudges had simply just become part of the book by this point and which were simply ugly blemishes.

This was bad, but not really bad bad.

Then there were the pages that had the grayscale work on them.  Holy crap.  So those pages were done with markers on photocopies of the original artwork, and those had to be scanned as grayscale images, and that meant less ability to just nullify the smudges without nullifying the range of gray shades.  Then you had the fact that the paper texture made its way into the file as well, along with every Cheeto stain or whatnot that might have been on the original.  Cleaning those pages up was actually not very fun at all, and I guess now I know how it feels to work in those diamond mines you see in those movies about people who work in diamond mines starring Djimon Honsou.

So "fixing" JTHM for digital versions partly means cleaning up stuff that people haven't ever seen thanks to how much less clarity there was originally.  They'll still be treated to artwork that's much much more detailed than the originals, and that's kind of cool, but my job was to keep all the filth out so as not to have the digital versions actually be less attractive and polished than what people have been used to.  The difference is like knowing someone only from their Facebook photos and then meeting them in person and suddenly being horrified at how much hair they have in places that should not have hair.  WHY do they have hairy eyelids?  This date was a mistake…A TERRIBLE MISTAKE.

The thing is, I understand wanting to "fix" things so much they're no longer what they used to be, and I have to be very aware of that while simply cleaning up these pages or changing bad spelling or bizarre grammar.  I have to approach each page with a kind of detachment from how annoying or outright ugly something is to me NOW.  The books are what they are, and what they are is the product of someone just floundering around with pen and paper having fun doing something they've no clue how to do.

Issue one isn't so bad to me on that front, but there's plenty about it that bugs the living shit out of me, mainly the bits where Johnny opens his mouth to say ANYTHING that's supposed to be serious (to Johnny anyhow).  The gags still make me smile, but the bits where Johnny is supposed to be a moping or ranting drama queen make me incredibly uncomfortable.  The character was always supposed to come off as something of a joke, someone who's so up their ass in their role as judge, jury and executioner that they've completely lost sight of how ridiculous they sound and act. It's still a thing I have fun with, but back then I don't think I pushed the joke far enough and my inbox is proof of that all these years later, peppered with mail from readers who "see beyond the veil of stupidity" or who "suffer at the hands of the inferior sheep-masses", sounding like third rate parrots of a character that himself was trying way too hard to sound cool while being nothing more than a puppet for the real badness behind his walls.

Would I change the writing of these comics to make it clearer to highly suggestible, cartoonishly arrogant assholes that I myself was just laughing my ass off writing them and then being pretty well-adjusted in the universe when not writing about characters who spoke in stilted absolutes?  Nah.  They're fun for what they are, and that's where I agree with people that changing anything about that changes what makes them memorable.

Now, am I adding anything to differentiate these digitals from the books people already own, not so much, but yes. Here be why!

I don't know if you remember, but some of the pages, in issue one at least so far, weren't exactly formatted for a standard comic page, and were instead designed to originally be published in a  magazine format, so they had these enormous margins on the top and bottoms of the page.  It always bothered me, even way back when, and so now I am filling those margins with Yodas.

HAHAH!  I lied to you just now.  No Yodas.  You fell for that?  Stupid…

No, what's happening with those pages  (there's maybe two or three of them in issue 1) is that I'm sliding the original comic up and making one huge margin instead of two smaller ones and then filling that space with Fillerbunny comics.  Fillerbunny will be back to perform his original function as a space-filling rabbit, so that's fun for me to do, and hopefully infuriating for you to imagine.

One thing that might HAVE to be different is the front cover of the first issue. All of those cover paintings were actual paintings done on canvas paper, and all but the one for this issue are sitting in storage in a box covered in bugs and dust and rat feces. It's partly why this update comes so late after the first one, I've been holding off, waiting to see if SLG could find a hi-res scan or photograph of the front cover. Not sure what I'll do if one doesn't show up. It'd be weird to go back and do a new cover for such an old book!

The only real omissions beyond that possibly big one will probably be the inside front and back cover pages which were usually full of ads that are now obsolete and blocks of text that had nothing to do with the actual comics.  In their place?

YODAS.

 

 

 

 

 

 

 

 

 

 

 

Dickless Zombie

I was talking recently about the Occupy Wall Street demonstrations and the movement in general and got onto the subject of the people who just honestly don't give a fuck, for whatever reason, simply don't give more than a poorly thought out joke to the idea.

Naturally, like many people, I can't help but liken situations like these to zombie apocalypse scenarios. Shit's simply happening, and it's happening NOW, and though it's not new, it's simply broken through some pustule on the surface of what just before seemed disturbingly status quo. Naturally most people are going to not want to see the emerging threat as anything but a little interruption in their day, all the while more and more zombies are popping up. It's probably just a bad flu variant. Whatevuh.

The general thinking is that these are the people that have to be roused, recruited so that our numbers can better confront THEIRS, but all the while THEY, the zombie hordes are just devouring us as a single minded, organized engine of horror.

At what point do you see the people that just don't give a fuck what's happening around them as the enemy in much the same way as the zombies. In not fighting off the zombies, they're essentially volunteering to be murdered and reanimated as another mindless weapon of the very thing you wanted them to help you fight off.

If you leave them alone, the zombies maybe take longer to notice YOU because they're too busy eating the dick off the guy that, seconds before, was trying to think up something funny to say in response to your warning, something along the lines of "OCCUPY WAFFLES..huh huhuhhhh.." Dickless from the start, now just screaming and dickless.

Maybe that gives you time to run to relative safety, but now you're numbers are less than what they would have been if people had just given a shit.

On the other hand, you didn't put a bullet in that guy's brain. You wasted time on prince dickless knowing full well all he gave a shit about was the comfort of every distraction he managed to cocoon himself with. Dickless isn't a bad person, but he's sure as hell not a player in this game. He's an NPC, and one that's just a step away from becoming an active enemy.

I'm not saying that, when you get serious with someone, when you try to engage them in some discourse about the course of action you guys should take when the zombies are banging on the windows and all that someone can do is puke out jokes that wouldn't even be funny in even pre-apocalyptic times, I'm not saying you should shoot them.

Just know that they only make the zombies stronger.

THE FUTURE IS NOW, AND IT IS ROBOT SHIRTS!

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I think it was around a year ago that I was contacted by Threadless Tees about doing something for them.  Upon hearing just what it was they wanted me to do I threw up and suggested something less awful, possibly my doing some shirts with them and they agreed, but to this day, whenever I see their reps at conventions or at the T-shirt clubs, they give me the creepster eye, leering lasciviously at my beautiful ears.

Eventually, Threadless asked me to do one of their Comics on Tees series, and so I did, employing the freakishly talented help of Ethan Nicolle, JR. Goldberg, and Becky Cloonan.  I had just seen 13 Assassins, the Miike remake, and one by one, I collected each of those artists, convincing them that what I wanted to do was right and just and bloody-minded.  They agreed, except for Cloonan, who swore never to kill again.  I assure her that no blood would be shed in the making of these shirts, lying through my teeth.

If you don't know anything about these Comics on Tees things, it basically goes something like this.  Someone, me in this case, thinks up a sort of script that would be told over the course of four shirts, and then four artists illustrate said script, each getting a shirt (issue).  Pretty straightforward.

My series, MAKING FRIENDS IS EASY,  is about an inventor recounting the various robots she has built.  That's all.  What more you need besides robots, though?  The shirts are available over at Threadless and you should probably feel like a complete jerk for not already buying it.  Psh…



Anyhow, here's a short bit about the process of making my shirt in particular.  Can't speak for the other artists as I don't really know how it is they work.  Everyone has their own approach, and what I've seen of Ethan's work style makes me hope I never really know more, what with the topless butter-dances and the summoning of many-eyed horrors.

That up there is  one of the earliest sketches I did for the front of the shirt.  I've gotten into the habit of doing a lot of early sketch work in Sketchbook Pro as I really like how clean the interface is for just dropping ideas down quickly in an environment geared towards drawing and nothing else.  It actually didn't take me long to get to the basic idea for the image, so I spent a good deal of time after doing that sketch up there high-fiving myself and telling myself how I'm pretty much the coolest guy I know.  After that it was about an hour of staring out the window at a power line and feeling nothing inside.

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Still in Sketchbook Pro, I use a fat marker tool to drop in some basic shading to give myself a general idea of how I want to light the thing, and to make myself feel like a real designer.  I rather liked the sketchiness of the image this early on and considered holding onto some of that for the final design, but my anal retentive side won out and the more cleaned up style won out.  I also can't stand when people leave their clothes all over the floor and step on them with their disgusting feet  throughout the course of the day.

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Now, in Manga Studio, I do a more detailed sketch, paying more attention to the big robot since it was the roughest thing from the Sketchbook file..  I started up with Manga Studio maybe a year or so ago as I wasn't at all happy with the line work I was getting out of Photoshop, which tends to have a very "computer" feel to me, more of an interpolation of my line rather than what I associate as my actual line.  I think Sketchbook Pro does a better job of it, but even then it doesn't feel quite right to me.  Manga Studio seems to do the best job of making the line look 'mine', and even gives you a little bit of room to play with correcting and smoothing out just how much of the computer you want to see in that line.  All in all, I like that the little or big imperfections in the ink work I get out of Manga Studio look more organic to how I'd screw up with actual pen and paper.  Pretty cool.

Why don't I just stay start in Manga Studio instead of starting the sketch in Sketchbook Pro?  Manga Studio, aside from having a name I think comes along with bad associations, doesn't let you create documents of all shapes and sizes and that means you're stuck using mostly physical paper proportions of up to a limited size.  Sketchbook Pro, and almost any other virtual drawing program, is aware of the fact that in computer land, document sizes are limited only by your imagination and your computer's muscle.  Somebody please call Manga Studio and tell it that it exists inside of a computer and to let me work on drawing boards the size of a goddamned bus if I want to.

[image error]Looks pretty inked up to me.  In reality, I was also coloring the image as I was inking it because I'm so horribly impatient when I draw.  One thing I did very early on was drop the color of the glowing eyes in on the robots, making sure to turn that layer on and off to make it appear as though the machines were powering on.  I'd laugh and laugh and call people into the room and say "Hey, check this out!" until they no longer came into the room and eventually stopped coming over to my house.

Ultimately I end up with that image up there, done entirely in Manga Studio.  You might notice, if you've seen the final shirt, that it looks a bit different up there.  That's because my original design was much more colorful than the shirt the design ended up as.  The blues and foamy colors I thought looked sorta nice, especially with the bubble designs on the big robots arms and legs.  In fact, almost all of the shirts went through some color changes for final production.  In my case, I had to adjust the colors for the shirts Threadless had available at the time, so everything got a bit more muted.  I think it's cool, but I'd still like to use the design in a way I'd originally pictured it.  Maybe a screen print?  I think so.

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The process for the back image is much the same as it was for the front, only I skipped the SBP stage and started that one directly in Manga Studio.  Overall I think the shirt's pretty nice, but I wish I had taken advantage of the format a little more and not simply treated it as though it was two basic, vertical sheets of paper.  Maybe next time!

ROBO SHIRT AT THREADLESS!

 

Johnny the Digicidal Maniac: UPDATE 1!

Who could forget that classic scene?

4 A.M, the streets are thick with the undead and I've got a Star Trek Voyager marathon going on Netflix.  Janeway's in love with a hologram and it's maybe one of the saddest, most pathetic episodes of this show yet.  Also, I've just completed scanning the first three issues of JTHM original pages.

There won't be too many things of note during just the scanning phase, mostly things I notice about the actual physical pages themselves, weird doodles I find on the edges or even the backsides of the pages.  The real fun, or horror, will probably be when I go into the actual files for cleanup and corrections as, contrary to what people might think, I don't really read my stuff very much after I've completed it.  I don't actually know the last time I read an issue of JTHM.  I actually don't even have copies of the issues myself!

That brings me to one of the first, and strongest reactions I've had to just even glancing at the pages while scanning them:  Almost all of the actual writing in the book feels a little foreign to me.  It's not because I deny ever having written the stuff, but it's just that I really don't swim around in the books after finishing them.  So while people make references to stuff, quote characters and allude to situations in the book, I don't always know what the hell they're talking about, or I'll recognize it but have no real response to it beyond acknowledging that yes, I did indeed write that.  It's nothing less than awesome that people quote my crap at all, but I think I would not be true to myself if I didn't tell them to shut the fuck up and then taze them in their balls and or labia.

That scenario plays itself out much more often with Invader ZIM references, but it's the same thing.   Rikki Simons has every right to want to murder me for writing the Doom Song.

It's not a new thought, and like I said, it was one I revisited  quite a bit once ZIM was a thing, but looking through these JTHM pages, I'm reminded of when i first started having them thanks to things like the Meanwhile where Devi's date shits his pants.

Even Johnny himself, on that Twitter account I made for him, makes almost no reference to anything he did or said in the comics.  It'd become the thing of fanfic, using bits and pieces of old corpses to construct something "new" out of an old mess.

Another thing I was reminded of is how obvious it is that I had never done a comic book before, not a real one.  The way some of the pages are formatted and taped together is pretty hilarious to me now.

Top notch storage facilities.

Almost every page was done on Bristol paper, but there was no real consistency to the size of paper I used.  Some pages were drawn to scale, some were on 11″x14″ paper  while others were on 14″x17″ sheets.  Fortunately I've quite a big scanner (that's right, ladies), so it's no problem dealing with them now, but I'm not entirely sure just why I used such large paper.

For the first few issues, anything with gray tones in it was generally done with markers, and it shows, with the darker areas apparent from where the marker strokes went back over themselves.  What I had forgotten was that I wasn't actually using markers directly on the original ink work.  I think I originally started that way, but quickly saw that the markers were dragging the black ink away, creating a nasty smudge effect.  Seems I would finish inking a page, and then make photocopies of them.  Kinkos Copies was a huge part of my life while working on those first comics, almost to the point of being a nightly ritual.  I would finish a page, drive to Kinko's around 2 or 3 in the morning, and print out a couple of copies, some sized down to the actual comic book scale just so I could marvel at how it would eventually look in people's fat hands.  I actually had a friend who worked there, so it was half visit, half getting in actual social interaction.

From there, I would shade the copies, sometimes the scaled down ones, sometimes the full sized ones.  The full sized ones I would cute apart, panel by panel, shade them, and glue them to the backs of the original pages.  I must have that that was very clever because the first few Meanwhiles were done that way.

Another common stop on my post page circuit was a stop to the grocery store where I'd often just park and weep in the parking lot, wondering if my life would always be that awesome.

Eventually the tears would stop, the sobbing would relax to just a few snotty hitches, and I'd drive back home and likely watch horror movies and play some sweet, sweet Sega Genesis.

Oh, one more thing.  This was drawn almost microscopically in the corner of one of the backs of the pages.  He seems happy to have finally been found.

 

 

 

 

Scanny the Homicidal Maniac

One of the most iconic panels from Johnny the Homicidal Maniac

If you know me primarily as "that guy who once saved my village with only his sweet dance moves",  you might not know that I once created a decently well-known comic series by the name of 'Johnny the Homicidal Maniac'.  The comics featured a character that I had created not too long before in my high school years and were damn fine excuse to experiment with figuring out various ways to render blood spraying over the course of several issues.

That was over a hundred years ago, and though extremely rough and haphazard in its execution, the series has stuck around and garnered steady attention since its release all those years ago, proof of the lasting power of the classical themes of stabbing, shrieking, and laughing.

And now I'm looking at the eventual release of these comics on digital formats.

Before that can happen, however, there's a bit of editing that needs to be done to the original pages before the digital versions can ever see the backlit light of day, and that means lots and lots of scanning.

Normally, the idea of scanning so much old work would make me a little sick, prompting me to hire someone to do all the scanning for me while I laugh at them, but I've gotta admit, there's something fascinating about touching the old originals for the first time in ages.  I've always been really bad about caring for my originals, those pages that I did on bristol paper before I moved to doing penciling and inking on the computer.  Each page is a kind of record of various days and nights of my life while working on those books, and just staring at the pen strokes on the smooth paper or seeing ghosts of pencil work is like running a needle on a record in my brain, replaying moods and even specific moments in my timeline.  Pretty neat, really.

The books, despite SLG reprinting them countless times, are riddled with typos, and that's one of the things I'd like to take care of, as well as maybe cleaning up some of the artwork that didn't quite make the jump from paper to comic very successfully.

Also, I am going to make Darth Vader say "No.  NooOOOOOoooo!" at the end to keep a certain continuity with the prequels.

I thought it'd be fun, or just annoying, to do these occasional posts about some of the stuff that pops into my head while scanning and preparing JTHM for digital distribution, and so the benefits will get passed on to you, the loyal reader.

I haven't really begun the process in earnest just yet, looking at getting into it later tonight, but I can already tell you one  thing about the original pages at least:  I take horrible care of my originals, always have.

Things are a little different and a bit more computer-based now, but back when I first started doing comics professionally (ehhehhehh) I'd spend about two days on a page, pencilling one day and inking the next, including the lettering and all.  I'd finish up long after everyone was already asleep, and I'd repeat the process until the book was done.  I'd then drop the pages off at SLG's headquarters, wait for a book to magically come out of the process, and I would receive my original pages back.

Those original pages would then be wrapped in paper, the way you see fishes wrapped up at a butcher's shop, and thrown into a closet.

Often times, they wouldn't even get that sort of loving treatment and just be strewn about the floor for me to wander around in my usual, naked, absent-minded stupor.  I found some pages from 'I Feel Sick' a few years back that way, filthy with shoe prints and nudity residue.

Nudity residue.

If you're more the type who gains satisfaction from toiling for others and you know of some big, ugly typos or grammatical screw-ups, send an email with these observations to mr.scolex@questionsleep.com with the subject line "FIX JTHM".  Now, I know, based on most of the actual mail I receive at that address, that grammar is the least important thing to a lot of my readers, but it doesn't hurt to ask, ya know?

Where mah Squee! pages at!

 

 

A BEE.

That is all.

JTHM shirt now available for the rest of mankind

 

 

That JTHM shirt that was available only at the San DIego Comicon is now up in SLG's webstore for all the people of Earth to enjoy.  No longer will you feel only anger and jealousy for those that attended Comicon!  Raise your stupid fists in victory and bring them down on the following link to be launched directly at the store!

THIS IS THE LINK!

Shipping doodles.

 

 

Pretty awesome, sure, but...

So I've been doing these little sharpie doodles on pieces of printer paper to shove into recent shipments from the $Z.99 store.  Right now they're being sent off with Bioshock prints and JR Goldberg's Mutiny of the Flesh screen prints.  So most people are getting whatever pops out of my head like the stuff up above, but a very select few will get some of the finest Star Trek fan art ever made by my barely human hands.

BEHOLD!

It's kind of like a Golden Ticket to see the Chocolate Factory, only there's really no prize other than the ticket, or in this case, an almost lifelike reproduction of a Star Trek:TNG character.

Maintain beholding!

Even I'm amazed that this stuff came within me.  It's just incredible stuff, but nothing, I say NOTHING, comes anywhere close to the heart-busting beauty that is this Worf drawing.  I'd watch my back if I were you, whomever is lucky or cursed enough to get this drawing, because people will be after this piece and they'll stop at nothing to get it.  GOOD LUCK.

LOOK UPON THE FACE OF GOD.