THOUGHT BYTES FOR 2005 (Pt. 4)
I’ve been trying to write here all week, but I’ve been too busy to actually do an entire entry on the subjects I had in mind, so here’s just a few snapshots.
ICONS
I watched Smallville on Wednesday and was on the edge of my couch for the whole 80 minutes. The ending blew me away. When Clark threw that crystal, I couldn’t wait to see the Fortress of Solitude. But then, when “To Be Continued” appeared n the screen, I screamed like I woman.
Smallville keeps sucking me in. It’s a great show, with great writing, and the development of Lex Luthor is a showstopper every week. I can’t wait for next season to see where these characters are going. I’ve read rumors that the fifth season is the last one.
As shaken as I was by Smallville’s sudden cliffhanger, the ten-minute teaser from Batman Begins that aired right after quickly silenced me. What I liked most about the movie was how they adapted, not omitted, Tim Burton’s version of the character. I’m one of those few people who liked Tim Burton’s first two movies. I think they were well done, if not for them, we wouldn’t have the Batman we see in comics today. I think the new movie doesn’t ignore those films, but enhances them. Turns the negatives into positives, like using actual locations instead of sets and treating things more seriously. But still, looking at the designs, you can see definite similarities between Burton and Nolan’s visions, and if you’re like me, and watched the first movie after the teaser, you saw you could put Batman Begins ahead of Batman and Batman Returns, and not skip a beat.
I’m looking forward to Batman Begins, and waiting in anticipation for the Smallville’s fifth season opener.
IDEA MAN
Had two ideas earlier this week, and I thought one of them was pretty original. It was a pill that could make men’s semen taste better, so women would be more inclined to give oral sex and swallow. But it turns out someone already had that idea and there’s three different versions on the market.
I haven’t tossed the idea, but I have to actually buy and try these already existing pills to see if there’s any room for improvement. But who will do the taste test?
PROJECTS
Feeling pretty damn good about the writing projects I have lined up, all for myself, still trying to break into that whacky world of professional writing, so I can quit this hell of dying kids and boring people, so I can sleep all day, work all night, and make big bucks creating fictional people who have more character than real ones.
Two are screenplays, one is a comic story, and another is a television series that I’ll hold onto for later, when I have more clout.
The screenplays are cool. One is all already to go, so all I have to do is write. The other is more difficult. It’s a horror story, a slasher film, and that’s more difficult. I can write monster horror, but slasher stories require more character, surprise, and comedic timing. Not that it’s hard, but I just have no experience doing it. And, as my luck would have it, that’s the one I have a lead on with a studio. So now I have to pump this out with my partner and try to get it done asap, beginning with a treatment. But I did jump my first hurtle yesterday. As soon as I got the news about the studio lead, I went outside for a smoke and solved the first problem I was having. I just have to solve the rest.
I’m beginning to think my smoking is linked to my writing, because I do my best work when I’m destroying my lungs.
I’m excited about the comic story, but its main character is black and that’s giving me some problems. I want to break the stereotype that white comic readers can’t identify with black characters. I don’t think that’s true. I think creators put up a race wall, excluding the white majority. It’s a tricky subject, and I don’t have the answers. I do agree with some people who purpose a character’s blackness is related to how accepted they’ll be, and there are examples to prove it. But I know how I feel when I pick up a book with a black character and I’m hit over the head with their blackness, and I’m black.
I feel strongly about contrasts between iconic characters like Batman and Superman, and those black heroes, like Black Panther and Luke Cage, who’ve become icons in their own right, but not sharing the same level of popularity. I can’t shake the feeling there’s a reason why everyone can relate to Spider-Man, but not to Luke Cage. Or how anyone can see himself or herself as Batman, or people wish they were Superman, but not Black Panther, Steel, or the new Firestorm.
I’ve gone back and forth with my character, debating if he should de black at all. Maybe the answer is making a white character with a stereotypical black background. Treat him like a black character, but make him a white guy. Then I thought to screw the whole thing and just whitewash the whole book because I felt the goal itself was stupid. No one will accept black characters like they have Superman and Batman, and who am I to change it? Just tell my story and be done with it.
But that would be the easy way out, and I’m not going that way. Anything worth doing has a road of blood, sweat and tears to get to, and I’m not going to pass up a chance to do something amazing. So, I’m back to the black, but how to make him “acceptable” without whitewashing him? How do I bring the white majority into his world, have them identify with the character, without letting his culture, which is part of his character, keep them at a distance? One possible solution I thought of, make them fascinated by it.
It’s like our love for Japanese samurai and ninja films. Hell, even the new Batman film has Bruce Wayne studying ninjitsu. The mysteries of the culture draw people inward and they want to learn more about it. I think that’s the same effect rap music has on white kids. I think it’s all about differentiating yourself from what you know in one of only two ways, positively or negatively. If you want to be a rebel, then you live in Beverly Hills and listen to 50 Cent. But if you seek acceptance, then you become obsessed with another culture that we deem “exotic”, like Japan, Italy, or Russia.
So, maybe the answer is making black culture more exciting to white readers? God, could that read any more racist and negative? But it’s true, black culture is only appealing to black people. And the white people who do care about it either hate, market, or manipulate it to piss off other white people.
Still thinking…
Meanwhile, I’m writing and crunching out the development in haste so I can move to actually writing the story. Research is cool, but you should read before you write, and that slows things down. That’s what multiple drafts are for, read as you write, then go back and add or subtract during edits.
FEMALE ANALOGY
Okay, here’s the problem with being married…
You meet someone and you think they’re the only one for you. Then you get older, you get wiser, and you realize that there’s more than one person who can meet your ideal. And these people are bumping into you in droves. They were nowhere to be found before you got married. When you were searching for the right woman, all these candidates were invisible. But now they’re all over the place and you keep meeting them. And, in a lot of ways, they’re more of a match to you than your wife.
So, what do you do?
You can’t cheat, both because you really do love your wife and would never hurt her. Or you have cheated, and learned the errors of your ways. Or better still, you have a shitload of money and you’ll be damned if you give up half to someone who didn’t do a damn thing to help you earn it. But, if you’re that loaded, you can have the affair and not get caught anyway, or the wife won’t give a damn because she’s sucking the cock of life on your dime. Fuck if she’s giving that up, even if she would get half, why take that when you have access to the whole thing? So we’ll exclude those lucky pricks, and focus on guys like myself, who love their wives, but damn if they wouldn’t fuck the hell out of the nice chick who smiled at them on the bus.
So, what should we husbands do to get through this crowd of women who we’d all like to know a lot better? Nothing. We just have to tough it out. We were stupid enough to get married in the first place, and now we have to suffer for short-term thinking.
What makes it all the harder are single people telling us how much they envy our marriages. The statement is so full of bullshit it makes me close my eyes and shake my head because nothing can describe the level of funk hitting me in the face.
Hey, I’m not unhappy, that’s a conclusion other married people use frequently instead of facing the truth. That the women we choose for ourselves are probably only 75% for us. There are a lot of other women in the world that come closer to our “match made in heaven.” I think it may be that men hate to shop. No, seriously, I think that may be why so many men end up with women who eventually aren’t quite all there and constantly bump into the bigger, better deal. Men usually just pick-up whatever they need, when they need it. I know I just look at the mannequins, and if they’re wearing something I like, I buy that outfit. I think a lot of men shop that way, very fast, and very immediate, instead of taking the time to really look for something that will last.
After a while sex becomes a biological function, more about dumping a load so you don’t become an insufferable S.O.B., instead of driven by passion, desire, or just a lusting for someone.
What married men probably find so exciting about other women is their freshness. Like the smell of a new car, instead of that old car funk that comes from too many hours of the same people being cooped up together in the same place. Old carpets that have endured shit stains, muddy boots, mashed food and spilled drinks. And after years, no amount of hand washes or turtle wax can bring back the shimmer and shine, the colors are old, faded, and the protective coating is starting to peel. And you start looking at everyone else’s car, how it looks so new. The blacks are deep, the interiors are soft, and you wonder if you’ve got good enough credit to make a trade and afford monthly payments on a new ride.
But you got to give it to that old clunker, she get you from point A to B. You trust her. She’s reliable. She doesn’t breakdown all that much anymore, because most of her stock parts have been replaced. And if you have a vintage model, well, the guys in the new Lexus are wishing they were driving your ’65 Mustang with the ragtop. You may drive her slow, but she roars when she needs to. You keep her inside, waiting for the weekend so you can take her for a ride on Saturday night. Pull into that old school diner on the strip and watch all the young guns stop and stare. They want her, but she’s all yours. She’s got miles on her, but that makes her all the more reliable. You know how she is, what she’s like, how to treat her, and what to do to keep her running. Not like the new cars, always wondering when they’ll breakdown. Most likely it’ll be when the warranty expires. And God help you if you get in an accident, those new cars will fold up on you like paper. But not your Mustang, Charger, or 1961 Lincoln. They plow through 2005 fiberglass like a wrecking ball. That vintage model is built lke a tank and will save your life more than once.
So, what’s my point? I’m not sure I have one really. I guess it’s all about time. The old cars, regardless of manufacture age, are always better than the younger models. Back when safety and durability was as big a part of making cars as aerodynamics and sex appeal.
Mine? She’s a 1975 foreign model who’s given me some problems. I’ve spent a lot on her, but she’s almost just like I want her. A classic in the making, just a couple of adjustments with just the right amount of aging and she’ll be ready for the strip.
LAZARUS
LAZARUS: Immortal Coils is coming along, the colored pages are looking good, but the colorist and I aren't in agreement with some of the computer effects for the book. See, he believes and follows the DC style of coloring, and I’m no one to dispute DC’s way of doing things. They instruct colorists to make sure they don’t distract from the main figure in a panel, and unless you’re real good, you don’t add too many fancy effects like blurs, flares, or textures.
But the scene in question is a car chase, and I think if there’s any point in a book where blurs are necessary, that’s it. I also asked for flares to bring out the light and power of a car explosion, and I referenced pictures of actual car explosions to prove my point. Again, you don’t want to take away focus from the main character. But, in a scene like this, wouldn’t the explosion be the main character? And if not, shouldn’t we at least aspire for realism as much as possible?
The problem I have with DC’s approach, philosophically anyway, is they're too grounded in the medium, comic books, and don’t ask or even dream of aspiring for anything greater. In the past, I’ve been told that I need to remember comics are not movies. And that’s true, but the line between the two is not as thick and wide as many do think. A man in blue tights and a red cape, flying across the sky may be the most unrealistic thing imaginable. But that’s not the point. The point is to make it look real. To make people believe that a man can fly. So, if computer effects can make something look more real, even is it defies some written rule, how could it be wrong? Shouldn't realism supersede whatever comic book standard is written in a book?
That’s the question I’m wrestling with right now. I’ve emailed some professionals, asking for the names to colorists I can talk to and figure out if my thought process is flawed or not. Of course, there are those who will say it is, but my gut tells me I’m not insane. And the proof is inside any anime book on the stands today. No, not manga, anime. In Japan, animes have movie books like our live action movies. In front of the book, the anime is shown in storyboard fashion, frame by frame, skipping a beat here and there of course, but showing you the whole film or episode in detail. The point is, in Japanese anime, within certain respects, realism is a factor. And if you look at those frames, you see how my ideas can work. The realism, with exceptions here and there, sucks you in. And while they do play with reality a bit, the exceptions they make don’t take anything away. They may choose multiple colors in an explosion, but that doesn’t mean the explosion itself looks any less real. In fact, it looks more real, because what does something look like when it explodes in space? And these ideas came from American films like Star Wars. So again, how could I be wrong?
Still, my decision is finale. The colorist will do whatever I want him to do, so I have to make sure that the decision I make is the right one. That’s why I want to talk with someone with some years under his or her belt. I emailed Danny Miki and Joe Quesada because both have been cool in the past and very gracious with their time. I’m hoping they won’t mind my asking for their help again.
We’ll see what happens. In the meantime, an artist friend of mine had a dream, and I try to work by it. He told me: "I dreamt I was at a beach, and there were all these people standing near the shoreline. It was high tide, the waves were crashing down, and everyone, including me, was afraid to go in. Then, as we all just stood there, we saw this little old guy start to walk out, towards the waves. We all screamed for him to get back, because he'd be crushed, but he just kept going. A huge wave rose up against him, and came down so hard we all knew he was dead. And when the water pulled back, he was gone. A few minutes passed, or at least it felt that way, and off in the distance we saw this person swimming, bobbing up and down like a dolphin. Then, they swam to shore, and as they got closer, we could see it was the same little guy who got pounced on. He walked up out of the ocean, and in his hand was this gorgeous oyster. He opened it, and inside was a pearl. And as I was looking at it, and then him, it hit me that the little man was Jack Kirby. He looks at me, and says, "You should go out there more often. Never know what you'll find."
ICONS
I watched Smallville on Wednesday and was on the edge of my couch for the whole 80 minutes. The ending blew me away. When Clark threw that crystal, I couldn’t wait to see the Fortress of Solitude. But then, when “To Be Continued” appeared n the screen, I screamed like I woman.
Smallville keeps sucking me in. It’s a great show, with great writing, and the development of Lex Luthor is a showstopper every week. I can’t wait for next season to see where these characters are going. I’ve read rumors that the fifth season is the last one.
As shaken as I was by Smallville’s sudden cliffhanger, the ten-minute teaser from Batman Begins that aired right after quickly silenced me. What I liked most about the movie was how they adapted, not omitted, Tim Burton’s version of the character. I’m one of those few people who liked Tim Burton’s first two movies. I think they were well done, if not for them, we wouldn’t have the Batman we see in comics today. I think the new movie doesn’t ignore those films, but enhances them. Turns the negatives into positives, like using actual locations instead of sets and treating things more seriously. But still, looking at the designs, you can see definite similarities between Burton and Nolan’s visions, and if you’re like me, and watched the first movie after the teaser, you saw you could put Batman Begins ahead of Batman and Batman Returns, and not skip a beat.
I’m looking forward to Batman Begins, and waiting in anticipation for the Smallville’s fifth season opener.
IDEA MAN
Had two ideas earlier this week, and I thought one of them was pretty original. It was a pill that could make men’s semen taste better, so women would be more inclined to give oral sex and swallow. But it turns out someone already had that idea and there’s three different versions on the market.
I haven’t tossed the idea, but I have to actually buy and try these already existing pills to see if there’s any room for improvement. But who will do the taste test?
PROJECTS
Feeling pretty damn good about the writing projects I have lined up, all for myself, still trying to break into that whacky world of professional writing, so I can quit this hell of dying kids and boring people, so I can sleep all day, work all night, and make big bucks creating fictional people who have more character than real ones.
Two are screenplays, one is a comic story, and another is a television series that I’ll hold onto for later, when I have more clout.
The screenplays are cool. One is all already to go, so all I have to do is write. The other is more difficult. It’s a horror story, a slasher film, and that’s more difficult. I can write monster horror, but slasher stories require more character, surprise, and comedic timing. Not that it’s hard, but I just have no experience doing it. And, as my luck would have it, that’s the one I have a lead on with a studio. So now I have to pump this out with my partner and try to get it done asap, beginning with a treatment. But I did jump my first hurtle yesterday. As soon as I got the news about the studio lead, I went outside for a smoke and solved the first problem I was having. I just have to solve the rest.
I’m beginning to think my smoking is linked to my writing, because I do my best work when I’m destroying my lungs.
I’m excited about the comic story, but its main character is black and that’s giving me some problems. I want to break the stereotype that white comic readers can’t identify with black characters. I don’t think that’s true. I think creators put up a race wall, excluding the white majority. It’s a tricky subject, and I don’t have the answers. I do agree with some people who purpose a character’s blackness is related to how accepted they’ll be, and there are examples to prove it. But I know how I feel when I pick up a book with a black character and I’m hit over the head with their blackness, and I’m black.
I feel strongly about contrasts between iconic characters like Batman and Superman, and those black heroes, like Black Panther and Luke Cage, who’ve become icons in their own right, but not sharing the same level of popularity. I can’t shake the feeling there’s a reason why everyone can relate to Spider-Man, but not to Luke Cage. Or how anyone can see himself or herself as Batman, or people wish they were Superman, but not Black Panther, Steel, or the new Firestorm.
I’ve gone back and forth with my character, debating if he should de black at all. Maybe the answer is making a white character with a stereotypical black background. Treat him like a black character, but make him a white guy. Then I thought to screw the whole thing and just whitewash the whole book because I felt the goal itself was stupid. No one will accept black characters like they have Superman and Batman, and who am I to change it? Just tell my story and be done with it.
But that would be the easy way out, and I’m not going that way. Anything worth doing has a road of blood, sweat and tears to get to, and I’m not going to pass up a chance to do something amazing. So, I’m back to the black, but how to make him “acceptable” without whitewashing him? How do I bring the white majority into his world, have them identify with the character, without letting his culture, which is part of his character, keep them at a distance? One possible solution I thought of, make them fascinated by it.
It’s like our love for Japanese samurai and ninja films. Hell, even the new Batman film has Bruce Wayne studying ninjitsu. The mysteries of the culture draw people inward and they want to learn more about it. I think that’s the same effect rap music has on white kids. I think it’s all about differentiating yourself from what you know in one of only two ways, positively or negatively. If you want to be a rebel, then you live in Beverly Hills and listen to 50 Cent. But if you seek acceptance, then you become obsessed with another culture that we deem “exotic”, like Japan, Italy, or Russia.
So, maybe the answer is making black culture more exciting to white readers? God, could that read any more racist and negative? But it’s true, black culture is only appealing to black people. And the white people who do care about it either hate, market, or manipulate it to piss off other white people.
Still thinking…
Meanwhile, I’m writing and crunching out the development in haste so I can move to actually writing the story. Research is cool, but you should read before you write, and that slows things down. That’s what multiple drafts are for, read as you write, then go back and add or subtract during edits.
FEMALE ANALOGY
Okay, here’s the problem with being married…
You meet someone and you think they’re the only one for you. Then you get older, you get wiser, and you realize that there’s more than one person who can meet your ideal. And these people are bumping into you in droves. They were nowhere to be found before you got married. When you were searching for the right woman, all these candidates were invisible. But now they’re all over the place and you keep meeting them. And, in a lot of ways, they’re more of a match to you than your wife.
So, what do you do?
You can’t cheat, both because you really do love your wife and would never hurt her. Or you have cheated, and learned the errors of your ways. Or better still, you have a shitload of money and you’ll be damned if you give up half to someone who didn’t do a damn thing to help you earn it. But, if you’re that loaded, you can have the affair and not get caught anyway, or the wife won’t give a damn because she’s sucking the cock of life on your dime. Fuck if she’s giving that up, even if she would get half, why take that when you have access to the whole thing? So we’ll exclude those lucky pricks, and focus on guys like myself, who love their wives, but damn if they wouldn’t fuck the hell out of the nice chick who smiled at them on the bus.
So, what should we husbands do to get through this crowd of women who we’d all like to know a lot better? Nothing. We just have to tough it out. We were stupid enough to get married in the first place, and now we have to suffer for short-term thinking.
What makes it all the harder are single people telling us how much they envy our marriages. The statement is so full of bullshit it makes me close my eyes and shake my head because nothing can describe the level of funk hitting me in the face.
Hey, I’m not unhappy, that’s a conclusion other married people use frequently instead of facing the truth. That the women we choose for ourselves are probably only 75% for us. There are a lot of other women in the world that come closer to our “match made in heaven.” I think it may be that men hate to shop. No, seriously, I think that may be why so many men end up with women who eventually aren’t quite all there and constantly bump into the bigger, better deal. Men usually just pick-up whatever they need, when they need it. I know I just look at the mannequins, and if they’re wearing something I like, I buy that outfit. I think a lot of men shop that way, very fast, and very immediate, instead of taking the time to really look for something that will last.
After a while sex becomes a biological function, more about dumping a load so you don’t become an insufferable S.O.B., instead of driven by passion, desire, or just a lusting for someone.
What married men probably find so exciting about other women is their freshness. Like the smell of a new car, instead of that old car funk that comes from too many hours of the same people being cooped up together in the same place. Old carpets that have endured shit stains, muddy boots, mashed food and spilled drinks. And after years, no amount of hand washes or turtle wax can bring back the shimmer and shine, the colors are old, faded, and the protective coating is starting to peel. And you start looking at everyone else’s car, how it looks so new. The blacks are deep, the interiors are soft, and you wonder if you’ve got good enough credit to make a trade and afford monthly payments on a new ride.
But you got to give it to that old clunker, she get you from point A to B. You trust her. She’s reliable. She doesn’t breakdown all that much anymore, because most of her stock parts have been replaced. And if you have a vintage model, well, the guys in the new Lexus are wishing they were driving your ’65 Mustang with the ragtop. You may drive her slow, but she roars when she needs to. You keep her inside, waiting for the weekend so you can take her for a ride on Saturday night. Pull into that old school diner on the strip and watch all the young guns stop and stare. They want her, but she’s all yours. She’s got miles on her, but that makes her all the more reliable. You know how she is, what she’s like, how to treat her, and what to do to keep her running. Not like the new cars, always wondering when they’ll breakdown. Most likely it’ll be when the warranty expires. And God help you if you get in an accident, those new cars will fold up on you like paper. But not your Mustang, Charger, or 1961 Lincoln. They plow through 2005 fiberglass like a wrecking ball. That vintage model is built lke a tank and will save your life more than once.
So, what’s my point? I’m not sure I have one really. I guess it’s all about time. The old cars, regardless of manufacture age, are always better than the younger models. Back when safety and durability was as big a part of making cars as aerodynamics and sex appeal.
Mine? She’s a 1975 foreign model who’s given me some problems. I’ve spent a lot on her, but she’s almost just like I want her. A classic in the making, just a couple of adjustments with just the right amount of aging and she’ll be ready for the strip.
LAZARUS
LAZARUS: Immortal Coils is coming along, the colored pages are looking good, but the colorist and I aren't in agreement with some of the computer effects for the book. See, he believes and follows the DC style of coloring, and I’m no one to dispute DC’s way of doing things. They instruct colorists to make sure they don’t distract from the main figure in a panel, and unless you’re real good, you don’t add too many fancy effects like blurs, flares, or textures.
But the scene in question is a car chase, and I think if there’s any point in a book where blurs are necessary, that’s it. I also asked for flares to bring out the light and power of a car explosion, and I referenced pictures of actual car explosions to prove my point. Again, you don’t want to take away focus from the main character. But, in a scene like this, wouldn’t the explosion be the main character? And if not, shouldn’t we at least aspire for realism as much as possible?
The problem I have with DC’s approach, philosophically anyway, is they're too grounded in the medium, comic books, and don’t ask or even dream of aspiring for anything greater. In the past, I’ve been told that I need to remember comics are not movies. And that’s true, but the line between the two is not as thick and wide as many do think. A man in blue tights and a red cape, flying across the sky may be the most unrealistic thing imaginable. But that’s not the point. The point is to make it look real. To make people believe that a man can fly. So, if computer effects can make something look more real, even is it defies some written rule, how could it be wrong? Shouldn't realism supersede whatever comic book standard is written in a book?
That’s the question I’m wrestling with right now. I’ve emailed some professionals, asking for the names to colorists I can talk to and figure out if my thought process is flawed or not. Of course, there are those who will say it is, but my gut tells me I’m not insane. And the proof is inside any anime book on the stands today. No, not manga, anime. In Japan, animes have movie books like our live action movies. In front of the book, the anime is shown in storyboard fashion, frame by frame, skipping a beat here and there of course, but showing you the whole film or episode in detail. The point is, in Japanese anime, within certain respects, realism is a factor. And if you look at those frames, you see how my ideas can work. The realism, with exceptions here and there, sucks you in. And while they do play with reality a bit, the exceptions they make don’t take anything away. They may choose multiple colors in an explosion, but that doesn’t mean the explosion itself looks any less real. In fact, it looks more real, because what does something look like when it explodes in space? And these ideas came from American films like Star Wars. So again, how could I be wrong?
Still, my decision is finale. The colorist will do whatever I want him to do, so I have to make sure that the decision I make is the right one. That’s why I want to talk with someone with some years under his or her belt. I emailed Danny Miki and Joe Quesada because both have been cool in the past and very gracious with their time. I’m hoping they won’t mind my asking for their help again.
We’ll see what happens. In the meantime, an artist friend of mine had a dream, and I try to work by it. He told me: "I dreamt I was at a beach, and there were all these people standing near the shoreline. It was high tide, the waves were crashing down, and everyone, including me, was afraid to go in. Then, as we all just stood there, we saw this little old guy start to walk out, towards the waves. We all screamed for him to get back, because he'd be crushed, but he just kept going. A huge wave rose up against him, and came down so hard we all knew he was dead. And when the water pulled back, he was gone. A few minutes passed, or at least it felt that way, and off in the distance we saw this person swimming, bobbing up and down like a dolphin. Then, they swam to shore, and as they got closer, we could see it was the same little guy who got pounced on. He walked up out of the ocean, and in his hand was this gorgeous oyster. He opened it, and inside was a pearl. And as I was looking at it, and then him, it hit me that the little man was Jack Kirby. He looks at me, and says, "You should go out there more often. Never know what you'll find."
posted by QABBAL at 2:30 PM
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