The Logic Monkey's Workshop
… I think I’m going to work on some fairy tales. Finally do that version of the 3 Pigs I’ve been threatening; bring it full circle. Or remaster Jack and the Beanstalk in my style. And in between, I think I’m going to start building out a JRPG; see what happens.
Jump the Shark & Paruvrew is the most polished book I’ve produced to date, and close to the quality level I’ve been hoping for from the first. However, it is the end of a long road. It would be good to summarize the lessons from each step down that road.
The Adventures of Jump the Shark and Sera Mermaid was my first foray into making kids’ books. I did not know whether I could, or whether I would be sufficiently pleased with the product. Therefore, I downloaded a book on how to make books on Amazon and followed its instructions, constructing the PDF on Canva. I worked hard to pander to my kid, so that if it all went sideways, at least I’d have one happy customer.
From it, I learned I needed to do heavy work on my color palette, I wanted to have more control over the creation process than Canva afforded me, I didn’t particularly like the 8.5″x11″ form factor.. and that I could do the work. I had that potential.
The Amazing Alphabeasts was my second foray. This time I tried constructing a palette in advance, using Amazon’s preferred 6″x9″ form factor, creating an educational book, and crowdfunding it via Kickstarter.
From it I learned the color palette needed further tweaking, that Kickstarter is a viable platform for me (I reached 50% funded halfway through the campaign, but abandoned it due to personal life events), and that I never again want to make an ‘edutainment’ book.
Hat Trick 1: the Death of Arthur utilized a template, and tested making a black and white book. I learned the relative costs of producing black and white verses color. I also learned that cutting off a story halfway and promising a sequel is foolish. To this day, I haven’t finished out the story promised in Hat Trick 1. I surely must, though, to reclaim my honor.
Jump the Shark & The Pirate Princess tested a new palette, and with only a tiny number of tweaks the one I use to this day. It tested a formula I mutated from several functional book-writing formulae, with an eye to making bedtime stories. The formula worked fine, but I realized I needed to storyboard my books as I write them from this point forth. It also started life as a digital popup book built in Unity,
Bunny Trail Junction is webcomic hub that to this day hosts John Michael Jones Gets a Life. For about 4 months, I kept it running daily comics, publishing black and white monthlies in paper on Amazon. I learned that I did not like the 3-panel format I’d come up with, that for all its advantages it was more trouble than its worth on most websites, I furthered my skills at inking with a brush, and I realized that small children looking for children’s books aren’t liable to be found on random webcomic sites.
Awesome Moments 1: The Kings of Earth was my first Bible Story book, and my first book produced on my display tablet. I learned that inking on a display tablet is tedious; I need to pencil and color on the tablet, then ink on paper with ink. I also learned that if I come to the end of my first month of working on a book, and feel burnt out, I should simply set it aside for a month and come back to it. I will get it done faster that way than if I try to push forward. I also devised a watercolor-based workflow for coloring in ClipStudio that I didn’t get to use for Awesome Moments but did get to use for…
Jump the Shark & Paruvrew, which tried out the new size format Bunny Trail Junction pushed me toward, the workflow I settled on after Pirate Princess and refined in Awesome Moments, and the watercolors. And it’s so far beyond the other books in terms of workmanship that I almost want to redo all the others. In fact, I do want to redo the others, I just don’t think I have the attention span to produce the same book twice.
The process is as follows:
So, the process in total takes about 3 months. However, it is not three months of work. The storyboarding month can be spent producing storyboards for multiple books, or producing a storyboard in the morning, and then working on a game or a comic book. And the need for me to wait a month between spitballing the book and producing the final illustrations isn’t spent doing nothing. So realistically, if I made books full-time, never worked on comics or games, I could put out at least 4, and as many as 10 a year.
Now, I’ll probably aim for that 4. Aiming at the 10 is a bad idea because with my ADHD, not jumping from project to project is actually more inefficient. My mind rebels against focusing on one thing much longer than a month. It took me four months to do a month and a half of illustration for Awesome Moments. And that’s with industrial strength stimulants. If I had spent the intervening two months working on something else, Awesome Moments would have been done at the same time, better, more polished, and I would have the intervening two months’ work to show for it.
But aiming higher, maybe trying for six, might be a good thing. I have hundreds of stories from my childhood that should be dusted off, improved, and released (with, of course, the caveat of I don’t like to write the same story twice). And the jump in quality from book to book is quite high. With a little more practice, I might start turning out books that are more than just idle amusements.
My wife took me to the new Dreamworks flick for my birthday. And it reminded me of the importance even of my idle amusements.
I’ve discovered in my dotage that I’d rather like to be the abominable tribrid of Lewis, Seuss, and Eastman and Laird. This pleases me. It suits me. And there is a call for it.
Focusing on it, as much as I can focus on any thing, is no bad thing.
No bad thing at all. The Mouse is coming out with its latest desecration of its former desecration of Hans Andersen’s Little Mermaid. I could furnish a less slick, but more wholesome and more true to the OG story. I did a poster of 3 ninja pigs versus a samurai wolf. That possibility deserves exploration. The Alphabeasts may be retired as an educational tool, but as a setting to improve upon Star Trek, they are quite well fit. And of course, I can always work on Hat Trick. Get some actual stories out there.
At this present moment, I do not have a project.
In January, I will begin production on Jump the Shark & Paruvrew. The storyboards are finished; it will be pure production. And I expect it to occupy most of January. I may begin pencils this week so that I open January with a finished page.
February, I traditionally take a break from social media, go over what I did the year before, and good around in the hopes that these three activities will provide me with a useful direction to move forward. And until a few days ago, I had assumed that would mean in February working on a platformer or a space shooter or something.
Assuming anything at all is silly. In February, I do as my whims bid. By definition. I give full head to the ADHD, see where it wants to take me, and then try to use that information soberly in the months that follow. But I have been for several months leaning towards working on the Jump the Shark platformer I started on in June.
I toyed with the idea of swapping the shark for a dragon because it’s easier to justify powerups for a dragon. And then I toyed with the idea of making a shmup first to lock in the graphics, because dragons can fly. And then I took a moment to design a character solely around my gameplay interests: what sort of character can be in a shmup OR a metroid OR a sonic OR a megaman X?
Honestly, the best course may be to just eschew the shmup and make the platformer, either with Jump or the Dragon, and trust to inspiration over practicality. Many a time, I have trusted to practicality over inspiration, and it doesn’t typically go well for me. But the last few days, I have felt inspiration pushing another direction…
But there’s this idea for an RPG engine as a platform for telling stories that won’t go away.
The first public sighting of this design was in November 2019, although I remember explaining the concept to my brother in or before 2015.
Namely, a simple adventure game format, with JRPG menu battles, would be perfect for mobile, and work elegantly on all other systems. Because it’s me, it’d take some influence from Chrono Trigger and the Mario RPGs. And once a basic system was in place, it’d be a great way to tell my stories. A lot easier to sell than paper books, for sure.
I’ve spent some time puzzling over the ideal interface (in this case stealing liberally from the layout of Darkest Dungeon):
Implemented the basic world exploration in Unity
Re-implemented it in Godot, which was way better and easier.
And then, for a game jam, I tried to make the battle system in a single weekend.
Well, lately I’ve been playing Slay the Spire on and off, and it’s given me a couple of key insights.
So, Juneish, at the same time as I was working on the Jump the Shark Platformer, I started toying with a card framework in Godot.
And the last few days, the concept has come back to me with a fierce vengeance. I redesigned my card fronts to fit my personal style more, and mocked up a game interface.
Right now, this feels like what I want to explore. I’m going to be tinkering with it for the next few days, see what happens.
But of course, by January’s end, when I’ve finished the next Jump the Shark book, all bets will be off. We’ll see what happens then.
Here’s my historical Wren imagery, plus the brainstorming for the redesign, with the additional work I did after I more or less settled in on a design.
I also went back to my pixel art last night and implemented the new design, as well as updated some of the pixel character designs. The new Wren design is down in the bottom left. It works very well indeed in this format.
My two or three month long flirtation with HD art is grinding to what may be a close. It looks nice, and is more marketable. But. I have two issues with it.
Using pixel art helps sell that it’s a video game. John Michael is, in many ways, the anti-Scott Pilgrim, and deserves much of the same marketing style for the same reasons.
My other option to get a video gamey look is low poly, but I’m less confident in how well I can go from construction to print. Not that I haven’t considered it:
While there are many video games I want to make, and they are unique and would add something useful to the world, they are not as unique as or as useful as the stories I want to tell. And the fastest, most useful way to tell them is children’s books. Let other people make them into comics and games if they want.
I can make a good kids’ book in about a month. Two months, given time for editing promotion and release. And yet, since 2019, I’ve only made 4, even though this is the best, most useful thing I can do. And most of those were in the first year. I made 3 books in ’19, 1 book in 2020, 4 comic compilations in 2021, and that’s it.
I think I need to try and put out at least two or three kids’ books every year. 4 if I can. Make the games a hobby instead of a primary goal.
And if the games are a hobby, they may as well be pixel art.
So, here’s the updates I should have done on Monday, except I was pushing the game to completion, and yesterday, except I was power-recovering from a head-cold.
I promised to upload the third draft by last weekend. I have failed because I don’t yet have my pastor’s notes. I will be getting them today, inserting (I think) two more pages into the story to really hammer home the centerpiece of the plot, and keeping my promise.
The Kickstarter is 1/3rd funded! Right now, I’m not pleased with the options I have available for people to back it. This weekend, I hope to tweak it a bit so people can get, e.g. coloring books, or something else that I can price relatively low and have the book itself have a large enough markup I can actually use the funds for more than production and shipping.
I have mixed feelings about Awesome Moments. I am 100% on board with making it, and it being the greatest thing I’ve ever created, for the sake of my children. But as a product I offer the world, I am hesitant. So I am praying that it funds or not based on God’s blessing the project as a whole.
I am not hesitant to share the project with the world, however. I love it. I believe you should love it too. I am excited about it. And I am going to be putting up posters, arranging to speak at churches, and so forth. The trick is, how do I balance that with what I said I’d do in October and November before I decided to try
November has been assembled all month. So according to my normal process, I should have it uploaded to Amazon, right?
Wrong. I’ve been tearing my hair out all month trying to simultaneously do the Awesome Moments Kickstarter and get the game that also launches in November done. I haven’t even kept up on producing comics.
Technically I have, as the pixel art comics…
… are so easy to produce that I have 24 comics already done this month. The problem is, that’s not what I want to run. I don’t want to offer my Bunny Trail Junction readers me blathering about what I should do or not do. That’s what this blog is for! I want to offer the readers stories!
Moreover, Hat Trick is picking up traction at least as much as Awesome Moments, thanks to all the work I’ve been putting into the game. Although neither is getting the kind of traction I need to make a living yet.
Currently, I have a couple of ideas for the comic. All of my ideas involve finishing out December strong, then maybe changing it up.
These ideas can be mixed, matched, and stacked.
3 and 4 are the newest, but most awesome notions. Sprite comics allow for awesome animations. The title screen I’ve got for my game has already convinced me that I want to do comics that look like this. And if I can make storybooks for Bunny Trail Junction that later lead to larger, illustrated books, so much the better.
Just look at that title menu! Comics that look like that would kick ass! And the more I weave my comics and games together, the better for each of them.
November will have two or three comics that straight up have animations in them on the website. And that rocks. Putting that stuff in stories will be super cool.
Anyhow, today I’m going to try and polish off the last edits to November and get that submitted to KDP today.
I spent Saturday and Monday neglecting all my other responsibilities to make Hat Trick: Prelude to Nightmare a complete game. And it is done.
That doesn’t mean it’s a good game, or even the game I wanted to make. To get close to what I want, I need to add:
But, it has a win condition, a lose condition, an options menu, and a controls menu. If I get only partway through the things I want to add by November, and then have to cut it off, at least I will cut it off a finished, if sub-standard, product.
I want to make a whole blog post about what I’ve learned from making the game, and how I’d like to tweak things moving into the next one. So stay tuned for that.
I have rebranded my Jump the Shark YouTube Channel as a Bunny Trail Junction Youtube Channel.
I have observed before my audience is kids. To reach kids, I need to go where kids are. Which is not twitter, or bunny-trail.com. It may be YouTube.
My current idea is to take my Kids’ Pulp Formula, write a bunch of stories, and upload one or two a week to YouTube. I’d draw one or two pictures for the story, record myself reading it, and thus build the audience for my books, my comics, and my games. For the same purpose, I’ve created a branded SubscribeStar.
My intention is to create a family-supporting setting and cast using my Piqha for the majority of the stories, although doing my existing books and comics is also fine. But Piqha, man, they’re so cool, and so far none of my finished work is strongly counter to modern propaganda pieces. I want a Berenstain Bears but with a respectable Papa. And the Piqha can do that.
But I haven’t put a single penstroke down for this project yet. Fulfilling my comic promises and advertising Awesome Moments has eaten all of my time! And right now, I’m not even feeling it. I’m feeling my game.
Man, getting my comic to look like this would be so cool. Heck, using bits like this rendered in-engine for videos would be so cool.
I’ve never edited videos before. I’ll need to record myself reading stories and edit the audio as well, and I’m not sure how I’ll find the silence necessary to pull it off on this farm. Right now, as I write this, my sister’s dogs are barking, and there are baby chickens chirping directly under my window.
These are all rather niggling excuses. I can overcome them. But that leads me to the one all-encompassing problem that I have with my projects.
I am able to do a great job getting funding for Awesome Moments, telling people how great it’s going to be, doing updates for the Kickstarter, and tweaking the rewards to generate interest.
As long as I do nothing else.
I am able to do a great job inking beautiful comics with intriguing stories to run on Bunny Trail Junction every single day for months ahead of time.
As long as I do nothing else.
I am able to build a retro game that looks super fun and exciting and slowly build up hype for it as I put in more and more cool features.
As long as I do nothing else.
I suspect the same is true of the YoutTube videos. The reason my mind is coming up with a slew of excuses is right now I am in game-development mode, and my mind doesn’t want to switch to advertising mode or to video mode or to drawing mode. But somehow, I’ve developed a plan of action where this month I’m doing all four at the same time.
That has to stop.
I can present all four at the same time. I’m presenting Inktober right now, although it’s certainly not getting me the eyeballs I had hoped for. But I’m not doing Inktober right now. I did Inktober last month.
I have to be doing one thing at a time. If I am making videos and games and comics and childrens’ books and funding, I have to be working on only one of these at a time for multiple days at a time. I may do one per month. I may do one per week. But I can’t do two per anything ever, ever again. I am making it work half-ass right now because I promised a game in November, and I promised the comic would come out every day this year and I’m doing the Kickstarter right now and I owe it a fair shot.
Tomorrow I have an appointment to work on a business plan. My business plan has to be to make one thing at a time. And it has to be something that gets my work to my audience and starts up a cash flow.
So today, I figured I had better sort my ducks out. Here they are. Now it’s time to ponder on how to line ’em up.
Yesterday night, I finished my brainstorm here:
Now here are my continued thoughts:
These questions have sort of kind of come up before. I feel in my bones there is an answer.
The following section now breaks Hat Trick into two pieces in the November Monthly. It’s a little ad-hoc and hastily assembled due to precise constraints on how many comics I needed…
Some of these are Frankencomics, single comics assembled from panels of multiple different previous comics. I’m not 100% happy with them. They mostly make sense and say what I want to say in the space I was given. I may make some additional comics to try out different ways of saying what I mean to say more intentionally rather than reuse the old ones or use frankencomics.
I’ve got about a week to figure it out. No big deal. If Bunny Trail Junction isn’t perfect on its first outing, well, that’s how I learn the skills that will perfect it.
So let’s think about some stuff I’ve largely already covered on this blog:
Sadly, it’s late, and I’ll have to consider course corrections tomorrow, which is irritating because my aim was to reach a conclusion today. But describing the question is half the answer.
I have the August Bunny Trail Junction.
My theories about using green/red ramps for screens, and then printing in grayscale have been vindicated.
But for the sake of making a Wren RPG, I changed up my pixel art style to something more like a 2D Brawler.
Which drew on my cartoony hand-drawn style, and turned about and influenced it in return.
Now, I’ve been explaining my RPG notion in comic form, and have half a mind to put those episodes in the September BTJ..
But while the pixel art uses my Rainbow Rose color palette, which is intended for print, it wasn’t specifically designed with black and white printing in mind like the Rainboy Palette. So I had to get a sneak peak at how it would turn out in print. Fortunately, each monthly should preview the next monthly. And so..
It’s fine. It’s not great. Specifically targeting black and white would be a wiser choice. But it’s fine. Good enough to print.
But I’ve been going back and forth. When I get treatment, should I work on my RPG engine…
Or focus my energy on Dronefu?
Those are the financially viable ideas, right? I’ve made series of comics explaining both ideas that will likely one day run on BTJ.
The RPG is viable because when Alpha Dream died it left a huge void in the JRPG community. Maybe not big enough to feed Nintendo, but certainly big enough to feed me. Dronefu is viable because it’s basically Megaman X, only moreso. And HD drawings. Nobody wants another pixel art platformer, but HD platformers are still in it to win it, right?
But I got to thinking. Hat Trick is the thing that is turning heads right now. Any game I end up making will probably be heavily influenced by what parts of BTJ people are talking about. And I could make a pixel art Megaman X-style game with Merlin from Hat Trick. I’ve toyed with it before.
It came to a head this week because I crashed my bike and bruised up my hands. I’ve been unable to manage the fine motor functions of drawing for most of a week. It’s been frustrating.
Though I’ve pulled some pretty panels out of my recovery all the same.
And I thought about making Hat Trick comics using pixel art.
It felt wrong, so I didn’t do it.
I like how the Rainboy Palette comics turned out, so making pixel art strips for BTJ in general doesn’t feel wrong at all. But the notion of doing portions of Hat Trick in pixel for some reason causes my spirit to rebel.
So I tried an experiment. I took my Wren RPG sprites, downgraded them to Rainboy palettes, and dropped them in the bus stop scene.
It doesn’t look terrible. It looks okay. I can make comics this way.
And maybe games?
And maybe games. Maybe the combination of the Bunny Trail Junction webcomic, and making low-res pixel art platformers will work out for me. Can be turned into a career.
I think it can.
I just… love how much more expressive and stylized these larger sprites are. Even though they are 5x as much work as the smaller sprites, easily.
So, I tried popping myself and Jump the Shark into the retro diner. I had to scale up the door because it was obviously too small, but I didn’t really need to fix anything else.
It’s too small. But it’s not terribly too small. It’ll do until I get in the mood to make another. And… yeah. I’m thinking I’ll try making a platformer using these graphics. Maybe using Godot, but maybe just picking up my old Unity platformer. Because after all, it already has a shader meant for these palettes, and lighting effects ready to go. I could just fork it…
I’d want to scale up the world, or else scale back to the 16×24 sprites instead of the larger more detailed sprites. I dunno man. I kinda love both.
There’s a certain irony that the platformer already exists with Candy. Way back in the day, when I did a Ludum Dare with a programmer who is now my friend, I conceived in my head a platformer staring Merlin. But I swapped in Candy the Witch because if my partner turned out to be dodgy, I wanted a character I wouldn’t be too upset over losing to be in the game. And Hat Trick is fairly dear to me.
I do have Merlin in both sprite scales.
Well. Anyway. The comic is launching in roughly four days. Everything is primed and ready to go. I’ve got the first week loaded, the first month planned, the first two months drawn…
Onward!
There is a thing called comicsgate. I mention it with some trepidation.
When it became obvious that Marvel and DC were more committed to their observance of the Death Cult’s religious shibboleths than even to profit, several groups of people began simultaneously making their own comic books. Some, I consider friends and allies to this day. Some, I wish well, but I would rather ignore them and be ignored by them in turn. Together, this merry band was branded comicsgate.
And then it fractured into pieces as the groups attacked one another. I have my own theory as to who is at fault, but I’ll not share it here. Obviously, my guys were 100% innocent and the other guys were 100% guilty. But I am not in the thick of Comicsgate; I am outside it.
See, I’m not a comic book sort of a dude. I never got ahold of comic books as a kid. While Comicsgate is either reminiscing about the glory days when we didn’t know Wolverine’s true identity, or even delving back farther, to the days when Batman wasn’t afraid of guns, my exposure to the comic art form was 100% newspaper comics.
I knew superhero comics were a thing. My mother loved the Chris Reeves superman movie. I spent hours pouring over a book about Spider man from the local library. I had caught bits of the Adam West TV series. But I don’t have nostalgia for the good old days when comic books were good because the only comic books I had access to where collections of BC, Peanuts, Wizard of Id, Garfield, and Calvin & Hobbes.
And, as I’ve related before, I also had access to books on how to make these newspaper funnies, and articles interviewing Jim Davis, Charles Schulz, Johnny Hart, and eventually, Bill Watterson.
All because five-year-old me miscommunicated and said I wanted to be a cartoonist rather than an animator.
And you know what? I want to be a cartoonist rather than an animator. I love the art of the newspaper comic strip. I think Scott Adams’ formula of 6-dimensional humor is a fantastic innovation in the understanding of the format.
Even though, you know… I’m not making much use of it.
Yep. I’m taking the lessons I’ve learned from the study of newspaper comic strips and applying them to story telling rather than joke telling. And that’s just how I intend to do things.
This is fine. There have always been newspaper comic strips that worked this way. Either mixed humor and storytelling, or else abandoned humor altogether and focused entirely on storytelling.
The newspapers are dying. The Newspaper comic strip is dying. The webcomic is its heir. But the webcomic changes some things.
Newspaper comics were filtered by syndicates and newspapers. Webcomics are unfiltered. The filtering process weeds out visionaries and prophets who defy convention and social norms, but it also weeds out dreck. So now, comics can exist that are better than what the papers would allow … but a lot of other comics exist that previously were denied existence because they were legitimately crap.
Webcomics can have color every day, not just Sundays! And yet I’m ignoring this and working purely in black and white ink. I’ve considered trying to come up with a setup where I use grayscale paper and black and white ink to create a tri-tone comic, or simply adding in a gray after I scan, but I’ve discarded these ideas.
Webcomics can have animation. Again, I’m ignoring this. I’m just making paper comics, but keeping the web in mind.
And that’s the aspect ratio for you. 16×9 doesn’t show up in a lot of newspapers. But it works nicely on Twitter, and if I stack the panels vertically, you can read it on your phone.
This kind of vertical formatting is the innovation of Webtoonz, and now Arktoons as well. Webcomics for a new era. Huzzah. I approve. Especially since, IMO, they will fit nicely in a pocket book printed by KDP.
I think the Newspaper format comic deserves to live. I think I’m going to take it under my wing and continue to produce things in this fashion. I think my 3x16x9 styling will neatly combine the needs of screens and books. But it has other advantages that recommend it to me.
I can spend several months making an illustrated book. I’ve proven it several times over. And I’m definitely going to drag Awesome Moments across the finish line. I don’t know when, but it’s good for my kid to have.
But long projects are hard. If what I am told about ADHD is true, I don’t struggle with controlling my focus; rather, I literally cannot control my focus.
When I try to simplify comic making down enough to make it a rapid prototype, which was the original purpose of this strip, I lose interest. It’s too easy. When I try to do multiple drafts to maximize final quality, as is really ideal for the kids’ books, I lose interest. It’s too long.
If I have an excess of focus, enough to make a proper comic book or (alas) a children’s book, I can make my RPG engine, and that will be better both for me financially, for the culture at large, and of course, for great justice.
But I need enough of a challenge to care. It is not enough to make beans. There has to be craftsmanship.
I have to care.
Yesterday in a big mess of brainstorming I circled around the idea of making a prototype comic. Again. You know, the same prototype comic I made back in April. But for real this time, you guys.
Last night, before work, I did concept drawings for the characters. It happened that I had a printout of my pixel art mockup for my Wren game in my clipboard
And so I tried to match styles. Which, in turn, the pixel art is an attempt to match styles with the hand drawn art I’ve been doing, so…
I was very pleased with the result, and so I carried my brainstorm across in my 16x9x3 format:
I think that this comic format and my tendency towards cartooning are so suited one to the other that that’s basically what I should do. Just go back to making comic strips of anything I feel like, and hoping that I can eventually harvest fully grown stories off the comic vine.
The art style works best, I think, if the characters are a little more lean and lanky than the pixel art equivalent, but I think drawing to pixel to drawing design pipelines are worth considering.
But here’s another thing. I can produce 2+ strips a day in this format, even when I’m not making Beans. Meanwhile, the average update schedule at, say, Arktoons is once a week.
So why not be random splody and make comics of everything? When I have enough Hat Trick, I’ll ask Arktoons if they want it, and easily keep up a once-per-week upload schedule. When I have enough Jump the Shark, I’ll ask Arktoons… etc, etc, etc.
And maybe Arktoons will turn me down. But I think this is the way forward. I think it always was, even though most of the comics I produced in April and May were false starts. The nice thing about false starts is I can make ’em, then turn around and make the proper starts. It’s all good.
Bunny Trail Junction AKA Magic Beenz is back on the menu. But I think not beenz. The beenz were an experiment, and the result was “It’s aesthetic, but not what I’m going for.”
Logic Monkey Media 