Ohmygod that was hilarious. xD

LOLS

I think it's funny..

*snickers* First frame reminds me of a certain annoying faerie from a certain popular game.

Lmao, You're right!

the end pannel made me lugh just for the fact he could easily get out :C

Welcome to punchline avenue :D

haha that's awesome

Sun roof for the win XD

This is not a wall of text. It's merely a picket fence of words, it's very elegant and fits the rest of the garden. :3

A picket fence of words.
I like that.

Hahaha. Great visual gag.

hahaaa
so expressive! asll the expressions are great, but scott's are hilarious!!

I like the face he's making while fumbling with the lock.

heheh yeah!
and in the panel right after he's kinda smiling again suddenly
gives a surreal and funny and distant vibe to his personality that cracked me up

I approve, sir!

Aw jeez, you're way below par for "internet strip wordiness".

Also, hilarious.

Let me put it this way. This was the first thing I saw when I logged in to FA this morning, and I'm still laughing my ass off.

I love your art style :)

This makes me laugh even harder because ... Well ... In the news just a day or two ago a criminal was caught because they locked themselves in the car they were trying to steal ... Nothing like real life to add an extra punchline.

I think I heard Keith Olbermann mention that guy.

Crazy world, huh?

Well it does work, simply because you have the action and the text together, and if you need some good understanding of text and graphics look up some lichtenstien works. (fine artwork) for reference and comparison. I know that's not what you're doing here, but your creativity is definitely on point with this piece of work x3
Keep up the good work!

xD

Thanks for the advice!

XD hahahahaha thats great!

YOU HAVE A WAY WITH TIMING AND COMICS AND DRAWING

This is hilarious!

THANKS YOU ARE EVER SO KIND

Har, that was fun.
Also I dig the design of the wolf - his look has this odd mix of design elements of cartoon characters from both the 1920s and 40s.

I like old toons quite a bit, so that influence creeps into my designs now and then.

Yeah, it was surprising to see such an mix of old school designs - but oddly enough it was still cohesive with your style, if a bit more rounded than usual.

"If a wall of text was good enough for Walt Kelly, then it's good enough for you, Sir!" Stern glare

But seriously: good fun. :)




Mark

Oh, how I adore Walt Kelly's work ~

I grew up with his daily comics, but I only discovered his books in 1979... and they changed my life.

I've never thought of English in the same way since.




Mark

I have such a difficult time tracking down the old Pogo paperbacks. So far I've only found two. I had heard that the company Fantagraphics was working on a 'complete volume of Pogo daily and sunday comic strips', but also that they themselves were missing some sunday strips, which I believe is still be delaying the release.
What a shame!

Until that's sorted, I'm looking into unearthing some of George Herriman's Krazy Kat. Many of my favorite cartoonists cite Herriman as one of their greatest influences.

I like Herriman's work, but I actually prefer some of his other comic strips, such as Baron Bean, or Stumble Inn -- less innovative than Krazy Kat, but to my mind, funnier (and in the case of Baron Bean, just as cheerfully absurd). But Krazy Kat is a classic... even though I do prefer Walt Kelly as both an artist and a writer.

As for the Pogo books, keep searching: the effort is worth it, and many of them contain original stories and art (The Jack Acid Society Black Book, for instance). I can only hope that Fantagraphics will reprint this material as well: it deserves a whole new readership.

Are you also familiar with E. C. Segar's Thimble Theater and Winsor McCay's Little Nemo in Slumberland? The latter, in particular, has the most gorgeous art I've seen on a comics page.



Mark

I'm familiar with Winsor McCay to an extent; I havent seen much of Little Nemo but what little I have seen has left me intrigued.

McCay never had the writing skills of Herriman or Kelly, or the figure skills of, say, Alex Raymond or Hal Foster; but as a draughtsman of places and spaces, he was by far the best. No other cartoonist drew more beautiful cities and interiors, and nobody played tricks with perspective as he did. Upside-down Art-Nouveau ceilings, stairways to infinity, endless empty ballrooms and corridors: Little Nemo had them all.

But then again, McCay had the advantage of huge Sunday pages, and the glory of one comic per page. Having all that room to fill certainly helped.



Mark

Okay, you win.

your works look professional and funny :)

haha the expressions and poses is what makes this imo.
I always loved the way your stuff is expressive.

Ha ha, I love how what starts as a text-based joke ends up a visual one.