Comicality

https://gayauthors.org/story/comicality/gfd-children-of-sunset/ A new chapter of the "GFD" themed vampire gay teen Western, "Children Of Sunset" has just been posted! So head on over and check it out whenever you get a chance! Cool? And be sure to let me know what you think when you're done! You know how much I love to hear from you guys! Hehehe! Have fun!

No apologies needed! Maybe I need to start reading too! I might be missing out!

"GFD: Children Of Sunset 12" I can't much tell how long I needed to lay there on the ground next Colby like that...our arms all wrapped up like we was scared to let go of one another...but I know that it took a spell for me to get my senses back about me. Even just holding that boy's hand was about as much passion as my young heart could manage...considering he was my first and all. There were moments when I my mind was racing with so many thoughts at once tha

Now this is something that I've always had a bit of a problem with, myself, when writing modern day characters in my stories. So if any of you guys have any ideas or hidden secrets about how to pull this off in multiple stories, or just from a variety of different characters in a single story....please feel free to add some of those tips in the replies below as I can always use more help in this area. And why not learn from my peers, some of the best there is, right? You see...and I've heard this from many of my readers as well... Many of my characters sound alike in their dialogue. Sure the situations change, and I can get away with giving their conversations a bit of a different tilt or flavor every now and then...but for the most part, I think that most of my characters really do sound alike when they're talking with one another. Because they're all individual parts of 'me', you know? It's something that I sort of struggle with from time to time, but I'm always trying to grow as a writer, and that means tackling all of the parts of my fiction that I see as problems, or potential blindspots, when I'm working. It's kind of a tough issue to tackle, because I pretty much write the way that I speak. Like...if I was sitting in a room with any one of you, and telling you that story face to face...that's would it would sound like. This is ME...talking to you and conveying a message with each and every word that I write. And that's exactly how I want it to sound. Natural. A bond between a writer and a reader where an understanding is reached and understood. I think that I've done a somewhat decent job at accomplishing that with a story for two. I'm so very proud of that. However...over time, I have written conversation after conversation, chapter after chapter, story after story...and I often worry that my main characters are all starting to sound the same, despite my massive efforts to give every story it's own feel, tone, and dialogue, of its own. I mean, I'm only one person, with one set of experiences in my own personal history...how can I possibly keep changing my speech patterns, my sense of humor, or the way that I speak in general for, yet another story on the list? It's not easy. Trust me. So...the topic for this article is about how to play with different dialogues and dialects to keep your characters separate from one another, and hopefully prevent them from all sounding like they're talking to themselves all the time instead of other people. Again, I have trouble with this myself. But I'm definitely willing to share what I've learned so far since I started, and maybe you can fill in some of the gaps on your own in the future. Since most of my stories take place during current (or at least 'modern') times...the practice of differentiating my characters through their speech has been quite a challenge for me. I wasn't really sure how to get around it or move past it as a writer. Especially since I write about teenagers. My best defense against the monotony of having every character sound the same was simply to tie their personal dialogues into the most obvious forms of their personality. Something that has been fairly effective for me over time, but...much like the dialogue itself...the personalities that I add into my fiction will eventually run out as well. The ones that I understand enough to write about with any sense of expertise or nuance, at least. So what happens then? I have characters that are very cynical, some that are selfish or angry, some that are shy and clumsy, some that are insecure and paranoid...and by matching their dialogue to those aspects of their personalities...I've been able to get readers to know who was speaking without me even having to say so in the text. Some of my characters are very energetic and somewhat childish...and I allow that to present itself in their dialogue. Other characters are very pessimistic or sarcastic, and I can do the same with their speech patterns when involved in a scene. And it was then that I realized that I wasn't getting the whole, 'all of your characters sound the same' comments that I was getting before. It gave me a few ideas, and I tried to go back and investigate things to find out why that was the case. My current conclusion? Subtle exaggeration. THAT was the missing piece of the puzzle! Now, mind you...this was many years ago...but as I was putting a ton of period pieces together for this new "GFD: Blood Bank" website that I was trying to build online, and began writing a variety of other stories that would all eventually weave themselves into the "Gone From Daylight" vampire series, all being from different eras throughout time...I started to play with the speech and interactions between my characters by trying to do a little research and hopefully capture the vibe of the era that I was writing about. The dialogue was meant to be a little exaggerated, but not by MUCH! I wanted it to sound natural, you know? Not like a cringe worthy presentation of something that sounded lame when you read it out loud. There's a balance to be maintained there. And you have to get a real 'feel' for it before you dive in head first and have your dialogue sounding like a late night B-movie on TV. But, as with all things, this is possible once you know what you're looking for and figure out what you're trying to do with it. This is a craftsman's work. Knowing your tools is the most important part of using them to work your magic. So, attempting to capture the vibe of the era that I was trying to write in, I feel like I picked up a few pointers in accomplishing what I was trying to do. When you really look deeper and figure out the language and how it has changed and evolved so much over time, you begin to see the differences in how we all relate to one another. That's why period pieces were so effective in teaching me what I needed to know in terms of switching up the language and rhythm of the dialogue that I was using when my characters spoke to one another. You have to be able to see it in action...and truly understand what makes the dialogue different. You have to have to be in the right head space when you're writing this stuff out. You've got to picture yourself there, and submit to the rules of that time period, that culture, those characters, and those circumstances. And I feel like entertainment, music and movies and literature, are the best ways to see this in action. For this particular, I want to use movies. Because I always do. Hehehe, what? It's the best audio/visual way that I have right now to demonstrate my point. Deal with it. When it comes to dialogue throughout the decades of cinema, where recreating a certain moment in time, there are differences that you can pick out and examine on your own to find out why it stands out, and how it affects the dialogue, and thus...the story itself. In the examples down below, I went through and tried to personally analyze the dialogue and figure out what the true 'essence' of it was. Like...I found the older dialogue from the film, "The Last Legion" to be almost poetic in its presentation. It's almost as if every word is crafted to impress the person you're talking to. Every line is delivered with so much depth. Epic...as if it were all being recorded for prosperity on stone tablets for later. Watching many other movies that takes place during this time period, there is a lot of dry wit, a lot of metaphor, a lot of hidden innuendo. Which is in line with what people were doing with language at the time. However, in the second example...taken from an old black and white detective perspective...the whole rhythm is different. It's more like a rapid fire witty banter type of communication. It's almost as if all of it was written to be comical or flirtatious...even when it isn't. Everyone has just the right words to say at just the right time. There's this clever back and forth that brings an energetic pace to even the most mundane of conversations. Which I think is cool as hell! Hehehe! Heavy on unspoken narration, there's a certain charm to it all that I can appreciate. Then we come to the third example from "Talk To Me", which takes place in the late 60's, early 70's. The dialogue here is much more laid back. There's a certain 'slide' to it that just feels natural and comfortable when you hear it. The slang is different, the vibe is different, the interaction is more affectionate here. It's empowering, and comes with its own sense of swagger and grace. And I love that too. Check out these three examples, and see if you can pick out your own clues to define what differentiates the three types of dialogue. Being able to recognize these differences will help you to apply the same sort of finesse to your own dialogue when it comes to whatever you writing. 000000 Recognizing the subtleties of language, slang, and era appropriate terms and references, helps to understand dialogue in a completely different fashion. It's something that I've had a lot of fun playing around with over the years, because it's an exaggerated display of how people speak differently in real life, and that helps me to translate that into my fiction. I've done a lot of experimenting with "GFD" series spinoffs, and there are more coming that you'll see by the time you read this. With a story like "Piece Of The Action", I was able to take on the character of a 'Capone' era group of Mafia gangsters. In "GFD: Children Of Sunset", I was able to use the dialect and expressions of characters that existed of the wild Westerns that I've seen in the past. "GFD: Disposal Of Flesh" is a story that takes place in the current day, but I wrote it to read like one of those old Humphrey Bogart type of film noir stories with the language that I used and the rhythm that I wrote it in. And "GFD: King's Order" that takes on an old 'knights of the round table' vibe the entire time. All of these experiments have been really eye opening to me, and I think it would be for you guys too if you gave it a try. There are also other stories like "GFD: Ammo Nation" with a current day (But still old school) British criminal flavor to it, and "GFD: Streets Run Red" with a more urban gangster feel to it. I have more stories that I've been working on, but that's where I kind of run into a few problems, here and there. I definitely want to finish "GFD: Daylight Squad", which has a bunch of kids in the 80's who find vampires living in their neighborhood...but since I'm an 80's kid myself...it's hard to have the dialogue sound 80's without sounding cheesy. Does that make sense? Like, I can write about something from the 50's, or from ancient Japan like "GFD: Blade Of Shadows", or a dark serial killer story from the 70's like "GFD: Bloodstained Duet"...but when it comes closer to the current day, I find it harder to get my characters to really sound different from one another. I don't know why...it's just difficult. I remember 80's slang, I know 90's culture...but it feels like 'cringe' for me to try to put it into a story. It feels forced. Maybe that's just me. Hehehe, but the key is to be subtle with the language and the references to avoid that problem. You don't want to be stereotypical...but you still want to exaggerate certain aspects of conversation to capture the feel, mood, and tone, of the era. In these last three examples...pay attention to the hidden flavors involved in creating the dialogue here. How are they talking to one another? Whether it be from 60's gangster speak, 90's inner city speak, or from the old West...pay attention to the words, the slang, the rhythm of their speech, and the way it's presented in each scene. They have different appeals to them, but they're not overdone. You hardly notice the dialogue differences at all when compared to how you talk to your own friends and family at all. Not if you're not looking for it. Take some time, and really study this. You'd be surprised how much insight you can gain into writing dialogue by experimenting with more exaggerated expressions of speech, and then teaching yourself to use those instincts to skillfully create engaging character dialogue on a much finer and nuanced level without having to write a period piece or shine a spotlight on character differences. It can be done. And who better to do it than you? Right? 000000 Anyway, this article is centered around the more 'amplified' ways of writing dialogue, but the point is to get you all to notice how speech can define character. And through this overemphasized series of examples, I hope that you can use that lesson to your advantage. Having your characters sound alike when they're speaking to one another isn't necessarily a bad thing. It just means that you're really connected to them and to the story itself, where you may not even realize that you're doing it. But if you can break away from the 'sameness' of having your character dialogue come off as predictable or repetitive...then that would be awesome. And it will make us all better writers in the long run. Like I said, this is something that I have problems with myself, and I'm always looking for ways to break the mold and possibly evolve beyond everything that I've done online so far. It's like I have the voices speaking aloud in my head, and I want to capture that in my writing if at all possible. That's all for today! Thanks for reading! And I hope this helps you when you're writing your next big project! I'm always in the corner for creative minds sharing themselves with the world! So go for it! And make sure to give me a wave when you hit the top! K? Hehehe!

Hehehe, awww.... That's so CUTE! My heart feels all warm and fuzzy now!

To be honest...I think it would be a little weird for me, personally. Not to mention for the friend or family member who's there to see it happen. I happen to be really close to my friends and my family, so it would be difficult for me to separate my love life from my casual life. You know? That being said...is it ok to date someone who used to date someone close to me? I think that it depends on how and why they broke up in the first place. I mean, there are so many factors involved that I would need to be aware of before diving into a situation like that. Why did they break up? Was he cheating? Did they just not get along? Was he abusive or toxic to him in some way? I'd have to ask myself if they were really 'done' with one another as well. I wouldn't want to have to be paranoid over the idea that a few lingering feelings still exist and they decide to have a fling behind my back. Or that I might end up getting my heart broken because they decided to get back together. Also, I'd want to know if my friend or family member was truly hurt by the break up. If it was something that seriously tore them up inside and left him crying and suffering over it all...I don't think I could date the person that caused him so much pain. I think that would feel like a betrayal, and I couldn't live with myself...even if it meant sacrificing my potential happiness in the end. That's just me. However... If they were just incompatible or didn't get along or didn't have any common interests...you know...simple stuff? If they break up, and I have a shot at appreciating the parts of him that my friend didn't? Then I'll give things a few weeks to calm down, talk to him about it, and then...why not go for it? If you don't want him, and I do...what's the problem? Right? I think that's fair. Point, blank, period.

Oh yeah! And if you're ever interested, over on the Shack forum, we play a game every Friday night called 'Jukebox Jimmy' where there's a theme for the week, and people post music that fits the theme! You might find a lot of cool stuff there too. http://www.voy.com/15900/

Oooh...a challenge! Hehehe, I like things that make my brain work. I'll figure your tastes out pretty quickly from what you've given me here, I think. I should warn you ahead of time, I have a knack for making people like stuff that they never thought they would like before! Hehehe! ::Giggles:: Hmmm... Why don't we start with some of these...

THANKS, you guys!!!

Sorry...no pics. Because people are assholes. But a new chapter is up! So enjoy, and let me know what you think! And pics are available on the Comicality Library, if you're curious! Cool! https://gayauthors.org/story/comicality/leftwithoutwords/ A brand ne chapter of the "Left Without Words" series has just been posted! Deme and Shane are desperately searching for a place to be alone! Wish them luck! And let me know what you think when you reach the bottom of the page...and there's that big space there for you to type a sentence or two of your thoughts on the new chapter. Don't let that empty space go to waste, k? I need you guys to SAY something once in a while! Jesus...am I asking for too much? Hehehe...PLEASE? Alright, have fun! And I'll seezya soon! Comicality Library! And a mirror site coming soon! http;//www.voy.com/17262/

"Left Without Words 26" It's so crazy to me...how the sun shines just a little bit brighter when Deme and I are riding our bikes, side by side. The air smells a little bit sweeter. And it's like I can hear the gentle rustling of every leaf that gets touched by the gentle breeze surrounding us. My life feels like bursting with so much color whenever I turn my head to the side and see the waves of his dark brown hair floating back behind him, his profile...an immaculate wo

Shhhh....hehehe, there's a deep, dark, secret that I need to let you guys know about. And I'm going to reveal it all in this article! It'll blow your mind! ::Giggles:: So...the big question is...what the hell is a MacGuffin, and what the hell does it have to do with my story and how I write it? This makes no sense at all. This is a writing device that most people credit Alfred Hitchcock with, but it has existed in the art of storytelling long before he came along and gave it a name. Basically, a MacGuffin device is something that everybody in your story is trying, desperately, to get their hands on and keep it as their very own. For whatever purpose that they have in place to use this magnificent 'thing' to accomplish their ultimate goal. Adding a MacGuffin into your work, no matter what genre you're writing in, can add a sense of urgency and increase the stakes of whatever story it is that you're trying to tell. But there's a big secret involved that every writer should know when it comes to using this method in your writing! HUGE secret! And it comes from a few simple questions like...what does the MacGuffin do? What is it? Why do we need it? What impact will it have if it falls into the wrong hands? How powerful is it? How can the protagonist find it? How can they keep the antagonist from finding it first? What obstacles are involved? And what happens if your heroes fail? You want to know the secret? Do ya? Are you ready? Get your pen and notebook ready, so you can write this down. Because it's a REALLY big secret! Ready? Ok...here we go... It doesn't matter! Hehehe! Like...not at all! MacGuffin devices, while you may have seen them in many MANY movies, TV shows, and literary works, before...they are an interesting distraction at best. They exist as a rather cheap method of giving both your protagonist and your antagonist a direct and focused objective and motivation to guide the story forward. That's what they're there for. But while many critics act as though this is a bad thing...it really isn't. It's a plot device, just like any other. One that you can always use to your advantage if you do it with a sense of finesse and skill. It's like the hammer, the screwdriver, or the wrench, in your tool box when it comes to putting your story together. And, when it's used right, it can be an effective way of telling a really great story that you can be proud of, and can draw your audience further into your story for a fully engaging experience. But...at the end of the day, what it does and why is pretty much secondary to the device's main purpose in your project...and that is a guided motivation for your fictional cast to follow from beginning to end. So, let's talk about effectively using a MacGuffin in our stories, when needed... MacGuffin devices are a way to give your story meaning, and your characters purpose. I'm sure that a lot of people and critics comment on these devices and speak about them as if they're a 'cop out' or dismiss them as an important writing device entirely. I'd like to challenge that theory by saying that this is a method that has real merit when it comes to writing a good story. The trick is...to focus on the character growth and their intentions as they chase this random 'thing' and learn what it takes to reach the end of their personal story arc without losing what makes them the hero that they started out as. It's just a matter of balance, and slightly pushing the MacGuffin device out of the spotlight instead of having the device do the opposite to the character. Again, it's all about motivation. Basically, the MacGuffin is what everyone in your story is searching for, and is ultimately affected by. If you watch your typical bank heist movie...the MacGuffin is the big treasure or the untold riches that they're trying to get a hold of and get away scott free in the end. That's what is bringing all of your characters together, that's what is pushing them forward them, and (depending on how you use it) how they evolve or devolve during their quest to get it. THAT should be your main focus if you're going to try to write this kind of story. It will come off as more genuine, more insightful, and ultimately more interesting, than just people chasing something that they want and will inevitably get by the end of the story...simply because they're the protagonist, and that's how these things work, nine times out of ten. It doesn't matter if it's a magical sword, or a crystal, or a treasure, or a killer virus, or the launch codes for a nuclear war...it may seem like it should the most important part of the story, but don't be fooled by the suggested brilliance of the pursuit of the proverbial 'Holy Grail' in your project. It isn't. Or, at least in my opinion, it shouldn't be. Always make it about your characters. Their growth, their failures, their conflicts. That's what is going to really sell your readers on the story that you're writing. How many movies have you seen where the MacGuffin device, by the end of the movie, didn't really matter at all? Do you even remember what they really did or why they were important? "Oh no, we have to go out and find and grab the 'whatchamacallit' device or millions of people will die!" Was it the secret agent spy list, or the Horcruxes from Harry Potter, or the Hatori Hanzo sword from Kill Bill, or the magic frisbee thingy from Tron? All of these things might have been at the center of the story and the plot, but the goal was simply to provide a clear motivation for you to be more invested in the characters that are going after it. And it's important to focus on that part of your story. Because that's going to be the driving force between your fiction. Otherwise, it's just going to be another drawn out story about, "Oh...we all have to go find the 'blah blah blah' device before the world comes to an end." Hehehe! It doesn't really readers' interest for as long as you think it might. Have you seen "Pulp Fiction"? Do you have any idea what was in the glowing briefcase or what it represented? In the "Indiana Jones" movies...does he ever really get to keep the major reward at the end of the movie? No. It gets destroyed, or hidden away, or given away, or vanishes into space...whatever. But the MacGuffin is never the point. The adventure is the point. Does Frodo get to keep the ring? Does anybody remember what the Joker was really after in "The Dark Knight"? I'm one of the biggest James Bond fans ever, and I can't even remember what most of the Bond villains were actually trying to accomplish or what their massive weapons were going to do if the antagonist were to succeed. But, again...it didn't matter. Character A and Character B are both chasing 'C'...and we're rooting for the good guy to get there first. Done. We've got our motivation. The skill comes into play when you recognize a MacGuffin device for what it is as a writing method, and remember that once you've properly set it up...you still have an actual 'story' to tell. That can't be it. It makes for a really weak crutch, believe me. Now, don't make some of my rambling here out to be something repetitive for the sake of drilling the point home. I feel that it's really important for you guys to really understand how MacGuffins work so that you can find ways to use them to your advantage in a well told story. As I said before, the very term itself is often used with a negative connotation, but it shouldn't be. Because it can be used to thread your scenes together in a variety of helpful and productive ways. You simply have to see them for what they are and twist them in ways that can make your narrative stronger without becoming the main focus of the story itself. I began writing a story called, "Tell Me How", not long ago...and while things are moving towards a teen romance story, the love interest, 'Corey', actually starts off as a MacGuffin. It's about a high school boy who has completely fallen head over heels for another boy in his Woodshop class...but there is also another boy in the same class who has become infatuated with him as well. The problem, this other boy is much more social, popular, and approachable, than our main character. So he has to end up coming out of the closet to one of his best friends in order to ask him for help when it comes to getting Corey's attention and being able to have a shot at maybe asking him out some time and winning his heart. In this situation, Corey is the MacGuffin, because he is the motivating for both the protagonist and his rival. It also creates the need for him to grow, learn, and change. It means that he has to sacrifice his biggest secret to his best friend in order to ask for help. And it makes the antagonist a formidable enemy when it comes to attaining his goal. That, in my opinion, is how MacGuffin devices in stories should be used. The way the first few chapters are plotted, Corey is pretty much in the background the whole time. He's 'present', but at the end of the day...he's a shiny and pretty object to be chased after and hopefully obtained by the time the series is over. Will our protagonist be compatible with his dream boy? Is he as amazing as he imagines he would be? Is Corey even gay? Answer...doesn't matter. At least not for now. For now, it's the journey of our main character going from a shy and awkward closeted teen to making his very first move towards finding love and affection with a boy of his choosing. That is where you're going to find a majority of the heart and interest in this series. And it doesn't have to be a magic medallion or the shard of a crystal or a book of powerful spells or locating the 'chosen one'. It is simply a focal point for what your characters are trying to achieve. The sooner you understand that part of the process...the sooner you can begin developing instincts on how to use this method to add depth and urgency to your work. You can even use it to bring together an entire ensemble cast of different characters together for one adventure, with their own (even conflicting) motivations of their own. Maybe one wants the magic 'thingy' to take it home to protect their village from being destroyed. But another character might be there to use it as a weapon. One may be there to protect it, because power like that is too dangerous for any one person to wield without becoming corrupted by it. And someone else might be a thief who is pretending to be a friend, but was actually contracted to steal the item and trade it in for a handsome reward. You can go in a million different directions with the idea...just remember...the magical thingy' isn't the point. It's everything that is going on around it that will enhance your story and make it something truly special. Cool? As always, I hope this makes sense, and I hope it helps you guys out when you're writing your next big project! We're all rooting for ya! So best of luck! And I'll seezya soon!

But to all of our trans guests here on the Shack...we appreciate and celebrate you all. I love you. And I have an unlimited amount of hugs ready and waiting whenever you need one. Ok? I know that it's hard, waiting for the most ignorant idiots in the world to grow the fuck up...but you'll always have a home here on the shack. Always. We love you. We see you. And we appreciate you for everything that you are, and everything you ever will be in the future. So hang in there, k? And let's take this world by storm. Know thyself...and be proud. K?

Think about it for a moment... one of your closest friends or family members has an extended relationship with someone that they truly fell in love with...but somewhere along the way, everything fell apart. And they break up. They are completely done. No more. Nada. But...he's still a really good guy. He's cute, and funny, and witty, and you two have become great friends, and you have maybe even been tempted to be something more. But held back out of respect for their relationship. But the relationship is over now, isn't it? The question is...is it ever appropriate to date someone after they've broken up with someone who is close to you? I mean...he's back on the market, right? And it's not like anyone is cheating or being deceitful by having lewd interludes behind anybody's back. You might be a better match with this cutie than your friend or family member ever was. Then again...do you think that's crossing some kind of line? I mean, you both know what happened. You're dating someone's ex. Won't it be awkward having him around? Can you guys spend time together, knowing what you know about each other? Is there a time limit involved before you go chasing after someone else's sweetheart? And if so...how long is that time period? A few weeks? A few months? Is dating someone's ex a clear violation of the 'bro code'? Or not? I mean, this cutie isn't goin to stay alone forever. So you might as well 'get in where you fit in', you know? Have you ever been in this situation before? Have you ever had it done to you, personally? Give us some details! Let's hear what you've gotta say! Anonymous replies are always welcome! Or you can email them to me at Comicality@shackoutback.net if you like, and I'll add your answer to a future issue of Imagine Magazine! Cool? Thanks sooooo much! I have been struggling to get people to talk about this stuff, and that sucks, because the few folks that answer publicly REALLY do help out a whole generation of gay teens and college students who are living through this weirdness right now, in real time. So if you can help them out with a few words of wisdom...you can assist me in trying to make the world a better place. ::Fingers Crossed:: Thanks in advance! Love always!

I used to work in a music store, ya know? What music tastes do you have? I LOVE figuring out puzzles and recommending some quality stuff you might not have heard before.

A brand new chapter of "Savage Moon: The New Breed" has just been posted! So check it out whenever you get a chance, and be sure to leave a comment or hit that like (or 'love') button to let me know what you think! K? Hehehe...I'm talking to you, hundreds and HUNDREDS of people who read my stuff and can't be bothered to click an emoji on your screen! ::Grumbles:: I'm willing to bet that you spend on Facebook though, right? Shame, shame, shame! Enjoy! And I love you lots! https://comicality.gayauthors.org/stories.html

"Savage Moon: The New Breed 39" Isaac was the first one to ask for the opportunity to take a shower, and he only beat me to it by a few seconds. I was feeling grimey and slimey and covered in dirt and blood. But Virgil was all too eager to provide us both with the opportunity. "Here...take this. And don't let the box touch you anywhere, you hear?" Virgil said. Isaac gave him a strange look, and opened the small rectangular box to pour some of its content out into th

WOW!!! Awesome cosplay, kid!!! Nailed it! Hahaha!!! Really though...in the comics, Moon Knight has brutally MURDERED a LOT of people! Like...a LOT! With his bare fists. Blood and broken bones and lost teeth. Hehehe, so...yeah. But the costume is excellent!

CUTE! Awwww...! I don't know what it is about that particular language, but hearing it with my American ears? Sometimes it sounds like blatant curse words, like "WHOAH! Where did that come from???" LOL! And I know it's not that, but once you hear it, you can't 'unhear' it. Like this Christmas song from Theoz...where the chorus sounds like he's literally saying "FUCK this dude!" 😮 Well merry fucking Christmas to you too, buddy! LOL!

Yeah, he's SUPER talented! I don't know how he's been flying under people's radar for as long as he has! I wrote an article on him for Imagine Magazine! Check it out! https://imagine-magazine.org/releases/volume-82/oscar-stembridge-earthbound-angel/

I missed you, cutie pie! ::giggles:: This wasn't that long ago, was it? Pre-pandemic, maybe? Whatever! He still sounds great!

That was just ONE episode??? 😮 Just finished watching the premiere...and... ::Tears Of Utter Joy:: They got the character JUST right!!! OMIGOD!!! I am shocked! Seriously! I should have known when they upped the show to an R-Rating just before its release! One episode, and I'm already giggling with wicked delight! More death! Feed me! Hehehe!

Youtube decided to start censoring all gay teen short films, and wiping out all favorite lists that include anything that MIGHT make the gay youth feel okay and normal about who they are. Just out of nowhere, for no reason. Saying that it violated their 'child safety' rules and regulations. But that's bullshit! So I'll be posting ALL of the stuff that I had suddenly 'removed' from my youtube account without warning. You guys please feel free to stop me when you find a short film that you think is 'dangerous' (Their words, not mine) for gay teens. K? What's so offensive about liking and sharing the stuff that I find on Youtube? Why am *I* getting a strike on my account??? Wednesday is now "Gay Like Me" short film day. Since 'shame' is the agenda for those who don't have to live with it these days. Every week! Every Wednesday! I'll be right here with another one! FUCK those people! Seriously! These are all gay short films that I had on my account that, for some reason, they found so dangerous and offensive. Like I said...you tell me what YOU think about them, and why they needed to be erased from my account. Is *THIS* what they were so afraid of??? Maybe I'm missing something here. Enjoy! This week's Short Gay Film - "Hearts And Hotel Rooms (Parts 1 & 2)"

A brand new chapter of the newest story, "A Fresh Start", has been posted today! So be sure to check it out when you get a chance! This is a GA Premium exclusive series, so head on over to the Premium Section to grab yourselves a peek! And if you don't have a Premium account...now is the time to get one! Because I've got more exclusives coming too, on top of some that are already there! Enjoy! And let me know what you think!