Tag Archives: shawn bowers

Operation: See All Movies ’09

When I was in high school, I pretty much saw every film that ever came out.  Now while you might think that points to me being a reclusive shut-in (or shut-out, because I guess I was at least sitting in a movie theatre and not my own home), but I have an excuse.  See, I was a teen movie critic, which is as oxymoronic a phrase as has ever existed.  I wrote for the Kansas City Star‘s now-defunct TeenStar section, which was a great weekly outlet for teen writer’s in the KC metro area to have their work seen by thousands and thousands of readers.  While most of the staff focused on actual journalistic pieces, my interests were a bit more shallow…BUT, by focusing on movie reviews over everything else, I managed to get into the paper almost every week.  Thanks, Hollywood!

Read More…

Writing Isn’t Falling In Love

I’ve discussed in the past the idea of your worst ideas actually being your best…but I hear a lot of reluctance towards pursuing an idea that isn’t your absolute favorite.  After all, you throw yourself into your work with all the passion and fervor of a crazy person, and it eats up weeks or months of your life, depending on what exactly it is that you’re trying to write.  So why bother investing yourself in something that you don’t even think is good?

If you don’t like your idea, that’s not an excuse to dismiss it.  An idea you don’t like is a challenge.  Because here’s the reality of what happened:

  1. Your brain felt that the idea warranted some form of generation to begin with.
  2. For whatever reason, you wrote it down into your big notebook of scrap ideas or in the heat of a fast-paced brainstorm.

An innocent tree died so that you could have the pencil wood to write that stupid thing down!  You deserve to honor it!  This is where the whole “love” thing comes in.  Writing isn’t dating.  When you’re dating someone, and you aren’t really enjoying it, it’s probably a good idea to get the hell out of there.  You can’t change your lover, and it’ll only hurt to try.  Ladies, you’re with me on this one.

You can change your idea.  Writing isn’t a “love at first sight” process.  You don’t have to start off in love with your shitty idea.  In time, you can learn to love it.  All you have to do is push past that initial rejection and start to question what it is about it that you don’t like.  Is it not grounded enough?  Is it about something that doesn’t interest you, or that you don’t know much about?  These are fixable problems.  You know the old “it’s not you, it’s me” excuse?  Take it to heart.  It’s not your ideas fault, it’s your own.  You came up with it, you can make it work.

Creativity is as much about the experience of creation as it is the experiences that come from the final product.  Whatever it is that you don’t like about an idea, use it as a catalyst to learn something new or have a new experience.  And if you absolutely can’t get something down on paper, even after giving it the fairest shot in the world, then so be it.  But before you push all your “little ideas” aside, remember that you already wrote something and that’s a hell of a lot further than we get on most of our ideas.  It would be a shame for it to go to waste.

Take a Picture of Your Building: How To Get People to Notice You Indirectly

I was walking past a woman on the way to Second City the other day who was taking pictures of a building across the street.  Naturally, I stared at the building , because…y’know…if someone’s taking a picture of a building, there’s probably something pretty damned special about that stupid building.  Except I don’t think there was, at least not on the surface.

The point of this story isn’t the building, it’s the woman.  Her attention provoked me to give my attention, and that got me to thinking about what actually causes fame.  By the time you reach the early middle stages of your creative development, I think we all come to the realization that most of the people who are famous aren’t necessarily any better at the craft than anyone else, nor are they somehow more deserving.  They’ve simply figured out (or, maybe more accurately, their team has figured out) how to turn one person giving a shit into millions of people giving a shit.

When you think about it in this sense, that fame is a consequence of attention and not vice versa, it seems like a much more attainable goal.  We lose sight of the fact that our goal, especially in the early stages of our creative careers, isn’t to be loved by everybody, it’s to be loved by one person at a time.  If you’re doing your job right, those people will attract others by virtue of the fact that you’ve warranted their attention.  Like the building.

But here’s the thing about that stupid building: when I looked at it, I didn’t understand why I should care.  This woman cared, but the building wasn’t coming through.  There was a thing they did on The Today Show a few months ago where they took one of the NBC Pages, gave her a professional stylist and then sent her out on the streets with a fake entourage including a fake papparazzi, a fake manager, stuff like that.  And even though people didn’t know who she was, they assumed she was someone famous and wanted her autograph or her picture and then asked people around them who exactly she was.  What that can tell us, and what my fascination with this building might tell us, is that we’re willing to give the initial benefit of the doubt to something that other people are noticing, but that window is very limited, and you have to be prepared to take the focus and run with it once it is gifted to you.  It’s not the job of the person standing across the street taking your picture to continually play advocate for you or your work.

That doesn’t mean it’s your job to wave your arms around and attract attention.  Desperation will close that window before you even get the chance to prove yourself, because we perceive desperation as an indicator of lack of quality (i.e. “why do they need to do all this?”).  And yet, you still have to be a shrewd self promoter to get initially noticed.  So what’s the middle ground?  Or is there one?  Do you either have to do good work quietly and wait for it to be noticed, or do you yell and scream and risk alienating people to come look at your good work and hope that they can push past the tactics?

One of my challenges for the work I produce this year is to build in ways that encourage people to stare.  That’s why I keep pushing this alternative venue thing…if people are looking in and see something going on, that’s going to make others look in, and so on and so forth.  It could mean outdoor theatre, spontaneous plays that pop up in the park and draw a crowd.  A walking production that pulls people in slowly, Pied Piper style.  And at the end of the production, how do you get people to continue looking at others looking, even after they’ve gone home?  Maybe that’s merchandise…maybe it’s a shirt with some art from your show, maybe it’s a punch card that you give them to give to a friend to encourage them to come back.  I don’t know, I’m brainstorming here.

All I’ll say is that…as you’re building your next creative venture, take time to build in ways to let people stare…and even more than that, find some way to involve the people who are staring at the other people.  Don’t let those folks pass by, because each one of them represents ten more who will follow close behind.

On that note, I still don’t know what was so special about that damned building.

I Like You, But I Don’t Need You

I think tonight may have been a weird kind of turning point night, despite the fact that it also may not have been and I’m just assigning more import to it than I should.  But tonight was a night where I did a show in a space that’s not meant for it, missing half of the cast and without an audience to speak of…and still came out on top.  Here’s the story:

We’re in the midst of our Level 5 Conservatory shows at Second City.  For those that don’t know, we do an 8 week run of a sketch show as the final piece of our study at Second City.  Last week was the first week of the run, and we were told not to get our hopes up because first weeks have about a 70% cancellation rate.  Now why would they cancel a class show for a class that we’re paying for?  Because they haven’t sold 25 tickets for the night.  Kind of a ridiculous system, in my opinion, but I don’t make the rules (I’ll just change them when I open a theatre of my own someday).

But last week we were fine, had a good show with maybe 30-35 people in the crowd.  Not huge, but we’re just testing material right now, so who cares.  Tonight, though, we got canceled.  This wouldn’t have been such a bad thing had my girlfriend Amanda’s parents not been in town to see the show (she’s also in my class, just to clarify).  They weren’t here JUST for this show, but still…they were excited to see it, she was excited to show them, we all wanted to do a show, stuff like that.  So when pulled the plug on us at about a quarter till the first group was supposed to go up, it was a pretty severe disappointment.

Except that wasn’t the end of it.  There were maybe 6 or 7 of us milling about, having just heard the news, and it dawned on us that just because we were canceled didn’t mean we couldn’t still do a show.  Except, of course, all of the rooms in the Training Center were booked with classes or rehearsals, and attempts to gain access to the empty theatre for a private showcase were not met with much approval.  So we found a reception area, with a stairwell.  We sat down Amanda’s parents (and her aunt, who was also in town) on the stairs.  We quickly ran over the running order, cutting the few pieces we couldn’t do with our smaller numbers and swapping in people to play parts as needed.  And then we did a fucking show.

Was it our tightest show?  Who gives a shit.  Our blackouts were coming in the form of yelling “blackout,” our sound cues were coming out of my tiny iPhone speakers.  We played the cards we were dealt.  And yet I still came out of that mini-not-a-real-show feeling better than I have about a lot of recent performances because it just felt fun. It was as much just for us as it was for them, and it reminded me of why I’m doing anything creative to begin with…to do what I like to do and hope that others find something fun in it.

I think we all reach a certain point in our development as creators where it kind of stops being fun…you hit a plateau for awhile, where you’ve been drowning in classes and mediocre performances and being in your head and fighting to find an audience for so long that it’s all you can focus on, and you lose sight of enjoying the thing that you set out to do to begin with.

I want the opportunity to do more shows like tonight.  I want to be able to do a show without the pressure of needing it to change the world.  I want to be able to do a show where I’m not on the line to pay back the theatre for an hour of space, or where I need more than three people to see my work to feel validated about it.  I want to remove the limitations of accessibility that I’ve put onto my stuff and just do what feels right, and if other people don’t dig it, maybe I don’t need them to as much as I did before.

My next show’s about a space station.  Genre stuff.  Not a ton of commercial appeal, I’d imagine.  But I’m going to do it however the hell I want to, in a space that’s not meant for theatre, and I’m going to blow the roof off of it.  I encourage you to do the same, because as backwards as it sounds, I think I’m more inclined to come see your show if I know you don’t need me there to make it the best thing you’ve ever done.  And while I don’t need you to, I do hope you stop by.

We’ll find a comfortable stairwell for you.

“Produce Yourself” Returns

I’m going to be restarting my Produce Yourself series over here on the official site.  Previously, I had been publishing it on another blog that I write for, but I want to bring it home because it’s going to be a lot of what I’m talking about over the next few months.

For an overview, the gist of Produce Yourself is simply that I want to help you along every step of self-producing.  I believe in the idea that it’s pointless to wait for opportunities to fall into your lap…if you want something, create it for yourself.  Of course, that’s easier said than done, which is why I’m going to talk about everything from venue booking to marketing to just creating a viable concept for a show.  The whole spectrum of creation from beginning to end is our fodder, and I WILL be jumping all over the place.

For the time being, I recommend catching yourself up on the first two installments, linked below.  They were originally written to go in a much more linear fashion, and I’m ditching that aspect of it, but I’m really big into the idea of narrative evolution, best-worst ideas and sabotaging your work, so these are good primers to some concepts I’m going to explore further down the road.

Produce Yourself – 30 Ideas, 30 Minutes

Produce Yourself- How To Sabotage Your Best Worst Idea

Stuff I Never Finished 3: NASCAR Samurai Priest Mystery Hour

In college, I made an original short called Jesus In the Phantom Zone (which you can view right here). I wouldn’t go so far as to say it was animated…more that it was just a series of still images accompanied by voiceover and narration. Either way, I figured I was onto something as a means of being able to produce some of the stupid ideas I had in my head without needing a full crew of people to make a live action film.

With that thought, I began developing the concept for a series called NASCAR Samurai Priest Mystery Hour. The show would have been in the tradition of the Father Dowling Mysteries in that it was about a priest who solved mysteries, but it was SO MUCH MORE AS WELL.

Here’s the pitch: Trevor McRoy was a famous NASCAR driver…until he got into a big ole crash that managed to kill an innocent bystander with the debris.  Disgraced, he left NASCAR and became a samurai to try and find some balance and discipline….until he got into a really bad samurai fight and accidentally killed a fellow samurai with a sword.  Disgraced, he left the way of the samurai and became a priest, embracing his faith in a higher power.

But when the police discover the grisly murder of McRoy’s brother with a crime scene that prominently features evidence that could point to either the competitive racing world or the modern samurai world, they turn to the one man who might be able to help.  For Father McRoy, it’s not just a standard murder…it’s his sordid past taking its toll on those he holds most dear.

That was episode one, anyway.  Obviously (not obviously) it’s a comedy.  I got so far as to write down some loose outlines, but it never moved beyond the concept phase, and I apparently never went so far as to type up any of the stuff I jotted down.  I’m sure I’ll stumble across it one of these days.  I did find this character design for Father McRoy, though…

As you can see, this was before I was better at digital artworking.  I also found this still from the project, which I believe was intended to be at Father McRoy’s extremely modern church service.  Naturally, they had a DJ.  And that DJ was a robot.  And that robot’s name was Funkytron.  DUH.

And that’s how great ideas are born: combine a bunch of niche career fields into a crime story.

For more Stuff I Never Finished, click here.

Lady Clown

Alexandra, the lady clown, stared at herself in the mirror.  With a puffy gloved hand, she wiped the thick white make-up off of her face with one of those make-up sponge things, revealing a series of horrible knife scars underneath.  She pulled the curly orange wig off of her head and tossed it on the nearest wig mannequin.

The end of the circus day was the only time she had to herself anymore.  Between the families and children who bothered her during the day and the unruly circus roadies who threw rocks at her trailer at night, there was no rest anymore, just solitude.  But judging by the heavy footsteps she could hear approaching outside, even that was a lost cause tonight.

The rusty tin door crashed open, letting in a burst of stinky elephant poop wind from the big top.  Alexandra’s father, Sergei, stood in the door licking a knife and pointing at her a lot, in the way that infers that you, the person being pointed at, are next.  She was the only person in her trailer, so the pointing was basically unnecessary, but he seemed to enjoy the theatrics.

“How many people did you make laugh today, Alexandra?” her father asked between licks.

She told him fourteen.  The licking stopped abruptly.

“Fourteen.  Pitiful.  That is but five percent of our daily ticket sales, Alexandra.  What kind of shitty clown can only muster five percent of laughter?”

She assumed it was a rhetorical question and continued smearing the last splotches of white from her neck.  Sergei hiked his sagging pants and lumbered over to her, pointer finger fixed like a laser.  He slid the dull edge of the knife’s back down her cheek, leaving a trail of slobber as it moved.  She refused to give him the satisfaction of looking at him, even though he was now trying to do that obnoxious double point from his eyes to hers in the mirror.

“We know what happens when we don’t reach our daily laugh quota, don’t we Alexandra?”

She totally knew, but obstained from nodding.  He flipped the knife in his hand and nicked her cheek in one fell swoop.  A slight string of blood trickled down her cheek, diluting in the saliva tracks her father’s knife had left behind.  It didn’t hurt, really.  Not anymore than the others.  She calmly lifted one of her gloved hands and used the thick foam lycra to wipe her cheek.

Sergei licked the blade clean of his daughter’s blood and awkwardly slid it back into his fanny pack, even though the knife was slightly too long and had to go in at a diagonal.  He zipped it as far as he could and then turned his attention back to his daughter.

“There is nothing funny about what I do to you, Alexandra.  You know this.  Tomorrow, be better.  It is the only way.”

The trailer buoyed slightly as he stepped back out into the night, leaving Alexandra with her quiet.  The cut on her face started bleeding again, and she held the sponge to her face to soak up the last few drops.  The banging of rocks landed on the roof of the trailer, and she could hear some derogatory yelling and a pick-up squeal off in the distance.

Alexandra flipped the switch on the side of the mirror and the make-up bulbs blinked off.  She looked pretty good in the darkness, the same way she looked pretty good with all that clown make-up on.  She smiled at the shadowy reflection in the mirror, stood up from her stool and went to lay down on the burlap cot that she called a bed.  As she lay there staring at the dented tin ceiling of her ramshackle home, the dull pain in her cheek throbbed just enough to provide a little internal rhythm to lull her to sleep.

That night, she dreamed of what her life would have been if she’d just finished that last semester of med school.

Suicide Girl

Kaimei felt the knife work its way through her stomach. It felt just like it did the first time, and the time after that. The pressure was the worst part, heavy on her gut as she tried weakly to push the blade all the way through. It punctured, tooth after tooth, and she bled, and all of the normal things that she had grown desensitized to happened in due course as she slowly passed out in the pool that flowed out around her shimmering robe.

It might not stick, she thought, but damn it if it didn’t feel good.

She could feel the control lifting from her limbs, the sweeping final stab collapsing midway to the goal as the nanites found her motor cortex. Already, they’d begun repairs on the existing damage, leaving Kaimei to lie helplessly as the flesh around her stomach patched itself over like the pixels of an image loading on her computer screen. She could still twitch her fingers, though the motion was less than functional. Despite this, she got lucky and managed to wedge the dagger into the open wound just before it could seal over. The longer it stayed open, the more dopamine the nanites released, the longer she could stay under…and that was the real game, after all. That was why she was the best.

But it was a minor distraction. For a moment, they continued sealing her off around the thick blade, the new skin already bleeding again as it fused around the cold metal teeth. With every spasm of her listless body against the floor, the knife wobbled ever so slightly inside her, tearing the tissue as quickly as the nanites could mold it. Kaimei was ecstatic; she had never managed to get the dagger back in before the neural takeover on a stabbing. It was going to be a good show.

There was a moment of nothing. No patter in the back of her stomach, not even the usual dope hallucination that drifted into the last few seconds of the process. Just the music. In the fourth injection, technicians programmed a small splinter payload that delivered shitty pop tunes to the ear canal during regeneration. Nice for those purposeful folk who only did this once or twice with actual intent, but miserable for the ‘ciders who had to endure the same vintage Rain single over and over again. Maybe that was their subtle way of saying “fuck you” to those who would abuse their program. Kaimei gave a stiff wince. The message was received loud and clear.

Her eyes flitted back and forth, the best her paralyzed features could muster. Out of the corner of her eye, she noticed the collage of faces on her screen. At least three thousand had registered for this session, each paying upwards of 200,000 yen for the privilege of watching the direct feed. She could have performed for a blank screen, but Kaimei wanted to see the eyes of her patrons, no matter how small. A few pale gaijin stood out among the blanket of tiny heads; she wondered what sort of premiums they had been charged to break through the network. Their expressions were cold, though what else would one expect from someone who paid to watch a girl die? It didn’t matter. She wasn’t doing this for them. This was for him.

Kaimei had been ‘ciding for a year, though this was the first time that Ikiro had asked her to do a live showcase. She had gotten exponentially better in the short time since she’d started; what began as simple wrist-cuttings had evolved into more complicated maneuvers, the kind that stood out amongst the thousands of wannabe suicide girls who threw themselves at Ikiro’s profile like blind fish against a dam. She never commented, only performed, and her last upload of an underwater disembowelment had gone viral within hours, breaking even Japan’s network walls to spread internationally. The Americans got their first glimpse of the nano underground with Ikiro’s landmark first broadcast suicide in 2011, before the digital secession was instated by Emperor Naruhito to “preserve culture.” To think that Kaimei was the first glimpse to the world of what they had become since was exhilarating. She found purpose in it.

It was an honor when he messaged her; after the national break-away, he became a digital hermit, only emerging every other year or so to select a new wave of featured Jisatsus for his website. That he hadn’t contacted her sooner was surprising; it had been at least six months since she made headlines, and she had half expected a glowing invitation the day after, lavishing praise on her remarkable achievement in legitimizing their art. The delay, maybe, was her punishment for threatening to take the counter culture he had so carefully fostered out of his hands and into the tidal wave of popular media. But there came a time when even he could not deny the community what it wanted. His correspondence, thus, had been terse.

“You’re getting there,” he wrote. “I’ll let you perform in my show.”

She didn’t have to think twice about the offer. Not that the thought crossed her mind, but to deny Ikiro was a social death penalty, more painful than anything she could inflict upon herself. Though the adults would never acknowledge it, he had managed a stranglehold on the new youth of Japan without the frivolities of religion or politics. Ikiro’s followers didn’t need any extraneous motivation; the disillusionment in the old culture was enough to make them follow anyone strong enough to step forward. And whatever popularity she had garnered, it was still nothing compared to the public reins he gripped so tightly.

He had requested of her a simple method for her performance: a jigai, harkening back to the samurai culture of previous centuries. She had never considered nostalgia particularly appealing, but she accepted the suggestion gratefully. Kaimei received a package in the mail the day prior, simple brown paper without postage. In it was a beautiful red robe, silk at the least, and a heavy, curved dagger, lined with dozens of sharp jags carved into either side. At the base of the smooth wooden handle was a faint inscription: “For your death.”

Her pelvis shot up, arching her back off the ground as she felt the full force of the thick jags inside her for the second time in minutes. Her vocal cords wouldn’t let her scream, a function of convenience installed in the fifth injection to prevent neighbors from having to suffer the travails of their suicidal flatmates. This, no doubt, a response to the glut of would-be ‘ciders who tried to follow in Kaimei’s footsteps. Her throat produced only a raw groan, but her eyes welled up with an outpouring of tears that diluted the stream of blood which had worked its way up to her neck. They were working inside of her, she knew this, but the first shot of local anesthetic was wearing off quickly before they could react to that rebellious last stab. Real pain seeped through the blaring j-pop anthem in her head and she strained to find some contortion of her body that would relieve the pressure.

Another second passed by, stretched into an eternity by the sharp waves moving up and down her spine. Another second. They finally recognized the invading blade, and within another second, her once flopping arms and legs went completely limp. The nanites weren’t compensating, she realized, or merely course-correcting. They were just running the whole thing over again. The second hit to Kaimei’s motor cortex paralyzed her, her body still recovering from the impact of the first shutdown. That was new. She hoped that was something they could fix.

Again, she felt the tingle in her gut, the movement of new flesh underneath the surface trying to find a hole to cover. Her neck ignored the frantic signals from her brain to try and see what was happening, leaving her rapid blinking as the last vestige of emotion, wasted on the ugly taupe ceiling that regrettably held her gaze. She fought to see past her eyelids, past her breasts. The knife was still sticking out, she could see that much. Something oozed up the blade, turning the ashy gray of the metal into a translucent pink. It was enough to elicit “ooh”s and “ah”s from the watchers, but the second round of dopamine rolled her eyes back in her head before she could care why.

Colors slipped out of her brain and across her corneas, floating out and open into the room above her. Suddenly, the world became clear. Kaimei could see the tiny machines working inside her, swarming down the pulsing stream of reds and blues that formed her being, intersecting and separating across the vast highway of nerves and veins she housed inside her. She could feel her eyes turn and commanded them to go further. Let me see, she ordered, and they obeyed, sliding back into her sockets so that she could watch with clear perspective the prevention of her death.

The nanites poked and prodded at her brain, sliding up and over the hills of her mind and disappearing into any exposed cracks or crannies they could navigate. The technicians had never explained fully the functions of the machines, only that they were “benefits to public health.” Kaimei’s first vaccination was not a choice; the Emperor required all children junior high school-age or younger to receive them as part of the “Tomorrow Youth Act.” Peering inside herself, she couldn’t help but wonder which of the tiny bots were the originals, and which had joined them in subsequent vaccinations. Not that it mattered; they were all a team now anyway.

A pair of rogue nanites slipped away from the pack and she followed them down her brain stem and through the maze of organs and tubes, passing by dozens of other machines who would stop long enough to fix a slight tear or imperfection before sliding off down the stream. They dodged a flooding pool of red coming at them to emerge onto a massive steel tower sliding out of the rubbery ground beneath it. The pair dashed away to join a battalion of at least a thousand other nanites, all tinkering desperately at the invading dagger head. She reached out, her arms replaced with the same metallic grasshopper legs as the bots, and followed suit in trying to do something, anything to halt the invading behemoth. It pulsed forward again, deeper.

The clack clack clack of the thousands of tiny limbs working in tandem was starting to drive her crazy. More were joining by the second, an impossible swarm that seemed to come from nowhere. And it wasn’t the din, necessarily, but how familiar it all sounded. All the cacophany of struggling nanites needed was lyrics and it would sound just like–

Shit. That fucking Rain song.

Her eyes snapped open, the familiar taupe ceiling still hovering above, and sucked desperately at the air trying to catch a breath as it passed. A gust of something, far too painful to be air, filled her lungs enough to satiate the heaving for the moment. Another dope release has to be close behind, she thought. Kaimei couldn’t tell whether what she was feeling was nervous exhilaration or something else entirely. She could tilt her chin up now, that was progress. The paralysis was lifting, however slightly.

She took advantage of the newly allowed mobility and quickly scanned the room. The monitor was still filled with faces, though there was some kind of stir within the crowd. The undulating mosaic of heads looked like wriggling maggots against the backlit screen. She could barely make out a few of them pointing at her, hands over mouths, or yelling offscreen for a friend to come see.

Her arms let her prop herself up again. As she bent, the pain struck through, the dagger tearing into her folded stomach muscles. Still couldn’t scream, but the wheezing was vicious. This wasn’t how this went. She had seen a jigai before; normally the nanites would just push out the blade before finishing the repairs. Simple. But it was still in her, sinking inch by inch into her gut as she saw the last patch of the knobby wooden handle swallowed by synthetic skin. The tingle of the new flesh pushed down gently on the dagger, helping it along as it cut a path through the fresh tissue they had just worked so hard to reform.

She tried to grab at the skin-covered handle, though her arms were still less-than-agreeable and only managed to hit it in a passing flail. It was enough to slice through the thin layer of flesh and expose a bit of the quickly-disappearing blade. The metal was…different somehow. Streaks of darker gray flowed across the surface, the knife taking on a sort of thick milky quality. The puncture sealed itself over before she could get a better look.

Kaimei could feel the dark flow release inside her, crashing through the walls of her stomach and up her chest. Within a minute, any semblance of the dagger was gone, the matter sucked inside her without a trace. The pain remained. Veins that she had never knew existed popped up from her arms and legs, her neck, her face. She went limp again. This invader, this poison, was hitting her quicker than the nanites could repair. She could feel her consciousness lifting, her eyes beginning the slow roll back into her head without the cushion of hallucination to aid the process.

As the veins began to pop open the surface of her skin, the streams of color poured out again, very tangible reds and blues seeping into the floorboards. Kaimei wished she could see inside again as the virus broke down her body piece by piece. She turned to watch her fans as they watched her collapse, hoping their adoration would provide what the dopamine wasn’t, but the screen had frozen.

Little by little, the faces of the crowd shifted themselves like a slider puzzle, reorganizing themselves into familiar features and shadows. Her eyes went wide, the eyelids deteriorating off her face. Ikiro’s visage emerged from the thousands of observers and a smile oozed across his face. His correspondence, thus, was terse.

“You’re getting there,” he said. “But you’re not there yet.”

Stuff I Never Finished #1

Over on my Illustration page, you can see a good amount of “finished” work from the last few years, but for every inked, colored and completed piece I have, there are ten more that never quite made it to those final steps.  That’s what Stuff I Never Finished is all about.  Let’s see what never got finished THIS time (this being the time that stuff was officially declared “never finished”).  Up and away!

This guy’s called “Space Ain’t No Joke.”  Which is true.  When there are dinosaurs out in space, and all you have is a sword?!  GOOD LUCK.

The Ladies Boy

By the age of three, little Ripper Clemens had already had sex 30 times with 29 different women. The 29th was his downfall; the only one to come close to surviving the morning-after shunning that had become all but routine for the infant casanova. A Ripper date ended at 10:30 sharp with a thank you note and a single rose, tied to the woman’s leg while she slept. They knew enough to see themselves out, he knew enough to keep on pretend sleeping.

This latest one, this problem, was like the others; an older woman, two months shy of 25 but with the upper arms of a 19-year-old. And like the others, she was drawn in by Ripper’s natural charisma. The boy was a prodigy of sexual magnetism, his mysterious eyes piercing the souls of women like a knife slowly pushing into a balloon, except without the pop.

That he was three had not yet come up in conversation, and he appreciated that. Normally, it was the focal point; conquest after conquest breaking down in tears during post coital snuggling with vocal attempts at self-consolation. “You’re too young!” they’d cry. Or “I can’t do this!” Or “my husband is waiting in the car!” But Diane seemed utterly unphased by his youth or the questionable legality of the situation.

“I’ve had younger,” she’d say between puffs of the giant novelty cigar she would occasionally pull out and wiggle around by her mouth. It was said as a point of pride, and Ripper imagined her sitting down with a checklist numbered one through a hundred, slowly ticking off each year as she slept her way through a century. For a three year old, it was a surprisingly abstract thought.

Her cavalier attitude made the sex all the more interesting. She would lay in bed motionless, sometimes half asleep, letting Ripper slip and slide his way around her body. It was a freedom he was unaccustomed to, as most women ravaged him before he could make a move, tearing through pair after pair of OshKosh B’Gosh overalls with a wild abandon normally reserved for hungry cocker spaniels. Now he had independence, and the gratification could come at his pace for once. They made love all night long, really hard, and long past Ripper’s bed time.

Ripper instinctually woke up at 10:15 the morning after and began to write his obligatory thank you note, courteous without being a tease. But he stopped himself, unable to muster the words that would push away this miracle woman. A single tear welled up in his eye, the first of its kind not brought about by a temper tantrum or an accidental poop. Emotions like these were for five year olds, he thought. Not him.

Wiping away the remnants of feeling, Ripper noticed the pile of sheets at his feet where Diane was supposed to be. And then he felt it; the gentle scratch of ribbon around his ankle and the wet rose stem that was almost as long as the leg to which it was attached. Diane knew his tricks, or had stumbled across the same foolproof way out on her own. Either way, she broke his little heart without so much as a word.

Now he knew what it felt like. Ripper grabbed his favorite stuffed doggy, rolled over and, finally letting his age catch up to him, cried like a baby.