Tonya tko relationship poems

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On that last subject, here's a few from _Questions, Short Poems, Water & Air_, by Ira Beryl Karen s= aid >she felt like she had been in an abusive relationship with quoted-printable Anselm Berrigan is reading this Saturday with Tonya Foster Peering at the tube I judged it a TKO for Bidart, though the applause was. Freaky Relationships goals, Student Problems, btcmu.info, Poems Porn, The LADbible, Danny Casale, Top Cars, Vids, Beauty Studio, Tonya Tko Show, . Spencer T.K. Dey TAO TAT TBO TBS TCBM TCS TEL THI TJ Storm TKO TLC TNT . Royster Jr. Tony Slattery Tonya Tonya Harding Tonya Mitchell Tonye Tooele a podotheca a podsolization a podzol a podzolization a poem a poenology a a relatedness a relater a relation a relationship a relative a relativeness a.

Women that show off more skin will attract attention of more males. This can result in males offering better deals. Women trafficking as sex object can and often are consensual. Of course this pissed off women in rich countries and males in poor countries. That''s why they oppose it.

Your body should be your right. When governments decide that you can''t do as you please with your body then they try to enslave you. Many women want to be sex object. The ugly cannot become one because males prefer prettier girls in porn.

The richer the country the more the country embraces free sex. This is true for democratic countries. That''s because women prefer the rich and richer males are more likely to let women choose.

Melissa Spence Gardner draws comics. She does other stuff occasionally, but mostly she draws comics. Did I mention that she draws comics? Melissa was born in San Francisco. Her doodles were unremarkable. By the age of nine all that she had contributed to modern society was a piece of yarn that she would demand that her mother tie through the belt loop at the back of her pants.

When she lost a bet with Bobcat Goldthwait in a bar in Thailand, she suddenly found herself spending a year abroad, studying in Scottland. Oddly, she has never drawn a strip that has incorporated either plaid or kilts. She has however drawn cheap bastards. Melissa is the artist behind Strange Snow.

Drawing comics is her passion. Brian John Mitchell wanted to be a writer as a child, but it didn't work out because he lost interest when he found out it wouldn't come easily for him. At 21 he self-produced a hand stitched book of short stories called Subhorrea which was followed by the yet to be printed 4 Hours Old. In the last issue there was the small matter of a murder and what to do with the body, so this issue takes care of all that.

Nobody seems to suspect anything, our hero gets cover at his work so nothing is out of the ordinary, and all he has to do is take a 12 hour drive down to Miami. Oh, and did I mention that our hero is 16 and has never left the area? After all the murders of the first few issues this one was downright serene, as the narrator contemplates the fact that he could now never become a writer writers have to write what they know, and he can never risk news of the murder getting out and wonders what other career he could come up with.

By the end of the issue he has a pretty good idea, but why spoil that for you? In the mood for a fantastic western revenge story? Get Just A Man. Like to read about failed relationships, or at least relationships that left serious emotional scars? Lost Kisses is for you. How about creepy government paranoia and parasitical invasion? Worms, my good chap or chapette. The same reason you think about it — only he acts on it. In this issue, he drives a car with a body in the trunk 12 hours to a man who will deal with it.

On the way, he thinks about possible futures, and by the time he's headed home he has a better idea. Not much happens in this volume.

It functions to move the plot along: While that helps in the overall picture, it's not a good place to jump in. Each page contains text and one panel with art that's not bad. There are a good variety of perspectives too; I particularly like how the interior of the car and bus are handled. There's some rather good and pointed humor in this issue — especailly considering we're reading an inexpensive comic book.

That alone makes it enjoyable if you know anything about the "glamorous" life of writing, art, or comics. Most of the story sees him ruminating on his future, as teenagers are wont to do, with the dark joke of the purpose of his journey underscoring the mundanity of his thoughts. Melissa Spence Gardner's art serves its purpose well when the captions aren't compressing it into to a sliver of an already tiny pagegiving the character and those around him a bland, unemotional feeling as they commit terrible deeds.

As a whole, this series might end up being a striking darkly comic crime story; it's certainly another of the better series here. Brian is doing an excellent job of giving all of his series a distinct voice, and the contribution of Melissa with the art has to be at least mentioned.

That death shot was a particularly gruesome panel and she manages to make all of these deaths seem like they could be happening to somebody you know, no small feat.

If the focus of xo was a teenage drug-dealer it might have genuinely worked, but the hitman element seems really out of place in nearly every regard. So it is for the main character in XO, as well. In XO 5, we learn about the haphazard start to our anti-hero's avocation.

Sometimes you accidentally kill someone you were kinda sorta but not really thinking about killing anyway. It's better to get paid in these cases, I suppose. The XO story is told in a factual, deadpan way, with short, blunt sentences, and fairly simple character design.

The humor is seen mostly in the action. Some plumber's butt here, a little jazz hands there, and suddenly manslaughter is more ridiculous than horrific. The drawings themselves remind me a bit of Mad Magazine, a bit of the old black and white Loony Tunes, and a tiny bit of the caricatures my friend used to draw in high school.

Although this succeeds as a mini-comic, I could see it translating well into a series of simple animated films. Brian and Melissa, are you reading this? You could be working the multi-media angle here! Fans of black humor and stories about criminals as regular Joes will probably get a kick out of this one. Being a tale of murder and the low life, it is violent. If you read it and it makes you sad that blood squirted out of someone, don't come crying to me; you were warned.

When you do the whacking, you hit the guy in the head with a car hood! This series is apparently about a young hitman, but this issue seems to function as the first part of a sort of origin story, in which he discovers his capacity for murder while simply trying to maintain his drug-dealing career.

It's fairly effective, although the character is sort of a cipher, seeming to move through his life without emotion although his internal monologue tries to argue otherwise. Maybe it's the art, which is occasionally effective in its cartoony figure work and features some nice toned shading rather than crude, simple linework, but can also be a bit stiff.

It's a decent little slice of a story, but not as compelling as it could be; I don't feel like I need to find out what happens next or before. And the caption-based narration gets a bit grating, but maybe that's just reading a repetition of Mitchell's tics all in a row. It has the violent fantasy of Worms with the introspective and familiar narration of Lost Kisses. Accompanied by the character-driven art of Melissa Spence Gardner, XO 5 reads like an extended edition of a sick Bazooka Joe bubble gum comic, only the punchline is murder.

Occasionally, when the images become symbolic, I get confused. It may sound odd to say it, but this issue is at its finest when the aloof narration is paired with literal interpretations of casual brutality.

This series is about a hired killer, again, narrating his adventures in the first person. Once again, the writing is pretty perfunctory, and has no real voice to it. But at least the story has a little more to it. Gardner's art is simple single-panel-per-page, yet deceptively detailed.

I felt like the story was an average everyday normal occurrence - it just flowed so well. PG, I suppose, for the cartoony gore. It's an interesting constraint to work impose upon oneself, given that auteur Brian John Mitchell is already up against his own inability to draw. That's not a subjective assessment, by the way--we're not talking Jeffrey Brown lo-fi or Brian Chippendale noise or John Porcellino minimalism or Anders Nilsen stick figures or anything else that's a matter of taste in the Mitchell-drawn Lost Kisses, we're talking actual stick figures, with little happy-face faces and five even tinier sticks for fingers.

Mitchell's enthusiasm for making comics outstripped his ability to master even its most basic necessities. Which is kinda cute, I'll admit, and works well enough for the kind of ramshackle navel-gazing confessional humor he's doing in that particular series, but the air of self-indulgence is unmistakable.

Making matters worse is a problem with image flow--I know, hard to believe given that you're just dealing with one tiny picture and caption on every page. But Mitchell places the drawings on top of the captions even though the drawings respond to what's said in the captions, so that you either have to read bottom-to-top or constantly spoil the gag for yourself.

I have no idea why he does that way--surely he noticed it doesn't scan? I don't think it's a formal innovation done for effect, like Chippendale's chutes-and-ladders layouts--I just think it's a mistake. Which is what makes the other three comics in the envelope Mitchell sent me all the more surprising. Not due to the presence of other artists, mind you--White's work on Just a Man is scratchily effective, particularly with some effects involving sun glare and flames, but Traub aims for abstraction and ends up coming out just sorta sloppy, while Gardner's basic cartoony figures look like they came from any number of entry-level webcomics or student-newspaper strips.

No, what's impressive here is how the physical constraints of Mitchell's tiny format are made to enhance his storytelling. When you have so little room that simply printing a sentence at a legible size eats up half your page, you've gotta keep things terse, so why not go hard-boiled and tale tales of murder and mayhem committed by flat-affect protagonists?

Just a Man is a Western morality play of violent retribution; a couple of moments overstate the case, I think, but in general it's a chilling thing, with some memorable facial expressions from White and a surprisingly, refreshingly open and un-cliche ending.

XO is a series, but this is apparently the origin story for its blase hitman protagonist, and believe me you didn't need to know this to appreciate the bracing matter-of-factness with which the character unwittingly but unhesitatingly graduates from selling drugs to eliminating an exceedingly minor threat to that undertaking. Worms is the least effective of the trio--the art just doesn't do what it wants to do--but the story seems like an engaging enough Cold Heat-style weird-tale sci-fi mindfuck involving a young woman in peril and fighting to break free, and it sure does take a turn for the suddenly brutal at one point.

In more assured hands, all three could be really killer melds of form and function. As it stands, they're maybe not quite there, but if you wanted to spend a measly buck per book, even just to examine what they do right and what they do wrong, you'd have my blessing. They are the size of a pack of matches and each take a bout as long to read as the average TV commercial break.

If I were not a mean old miser they would would be perfect to pass around to my friends. If I had friends. In a perfect world, little comics like these would be on the check out counter of my nearest gas station. You can find out more and order these for yourself at Silber Media. Here is a look at the most recent batch: The art is probably the most ambitious I've seen in one of these matchbook minis which is to say that each panel holds about as much drawing as a panel smaller than a matchbook can hold and still make sense.

I like White's drawing here. Flipping back through it for a re-read I find that the pages tell the story well without the text. Like previous Lost Kisses this book contains one page gag comics where a stick figure talks or interacts with other stick figures and the gag is accompanied by text which tells what I assume is the more honest truth about the situation.

Criminal Paradise (Robert Rivers, #1) by Steven M. Thomas

The theme in this issue seems to be the artist's relationship with his friends. The gags work as self-deprecating humor in a simple way that might work on a t-shirt but the text gives it a punch of brutal honesty. It's like ironic catch phrases served up with an anti-irony vaccine. The two things kind of wash each other and leave me with feelings neither or elation or sympathy.

A bit like a mild punch in the stomach.

Ebony Empress Shows - EBR Award Winner

This book continues the formula of the last issues but focuses it's attention on the artist's relation to love and uneasiness with his friends' affection toward him. It would be easy for this sort of introspective self-analysis to become depressing and that does seem to be the default setting for a lot of auto-bio and diary comics but the juxtaposition between gags and text keeps things light.

There is a tongue-in-cheek self awareness about it that keeps you just a few feet on the funny side of whether or not you need to worry about the artist's potential suicide. Gardner's minimal Archie style cartooning mixed with Mitchell's Tarantino style characters and situations makes for a fun little read. The story itself is over the top and unbelievable but the character's delivery is so understated that I'm right there with him in every panel.

I think the pacing and length are just right making this a really enjoyable episodic narrative. Not quite like a TV sitcom but exactly right for the trip to the bathroom during the commercials.

This comic continues Mitchell and Traub's Lynchian horror adventure.

  • Criminal Paradise
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The narrative is a stream of consciousness nightmare. The story does not really move far beyond the previous issues. The character is moving in baby steps as she tries to figure out what is happening to her.

Traub does a good job of setting up the scene, action and emotion in as few brush strokes as possible. It's like narrative flash art. Considering the format, each panel represents a clever choice on Traub's part.

The bedrock artistic product better be interesting or impactual enough to warrant the sparse quality of its formula. In the case of Brian John Mitchell's line of matchbook-small mini-comics the messages meticulously imprinted on their tiny pages are short but sweet enough to work expertly. But the crowning achievement in this series, the crazy, quirky coup d' grace that is most deserving of straining your eyeballs is "Lost Kisses," a group of strips with stick figures standing in for Mitchell himself and his sundry self-deprecating and contradictory thoughts about himself and his predispositions.

Probably I need to shrink about it. As I wait to see Dr. Katz to talk about this I read more "Lost Kisses" and wonder why a TV network hasn't snapped these mini-comics up for minisodes yet. But for now they remain neatly tucked in their cute little dimebag-like sleeves. Most of the pages feature one panel with text below them, giving them the feel of a small storybook. After reading each of the four titles Mitchell is currently writing, I was impressed with his ability to pack a good amount of narrative into such a small package.

The art by Andrew White is raw and really carries the emotion of the main character. This one was my favorite of the bunch. Kimberly Traub, a tattoo artist by trade, provides the art for this story, and it has an abstract, nightmarish quality to it that creeped me out in a good way.

I enjoyed the dark humor of the book, and the origin story is ironic and funny. He also provides the stick-figure art on the book, which gives it the feel of a diary entry. With issues 9 and 10, he explores his relationships with people, love and hate, and his own need or lack thereof for approval.

To kick things off, we have five minis to discuss — all of them written by Brian John Mitchell. Soon after, I got five of these bad boys in the mail. Mitchell provides a little blurb at the beginning that gets the ball rolling, but as I continue to read the book, I find myself a little lost. The narrative is full of surreal content, as it details what I believe to be a woman waking up from medicated stupour, and finding herself trapped in horrible place where the nurses can send you to sleep just by speaking and worms crawl into your arms from IVs.

In the end, I think I failed to get a good footing — but that could also be due to the fact that these kinds of stories rarely float my boat. So he goes all Die Hard, looking for revenge on the man what killed his family. Definitely worth a read.

XO 5 Drug deals gone bad in this one. Each of these books seems to have a different style of narration — or rather, different narrators. With XO, the protagonist seems to be fairly laid back as he recounts the story of his first kill on the job. The whole thing starts out innocently enough, but then takes a sharp turn for the worse. A really good read though. Or heck, even how he even got to this point in his life. A staple of the indie comic world.

A lot of people I know are starting to get annoyed with stories like these, but not me. Anyway, in the realm of autobio, these are pretty good. All the drawings are very crude these being done with stick figures — but really, am I one to talk?

All in all these, were pretty great. Even Worms, but to a lesser extent. If any of these have tweaked your interest, definitely go over to the Sibler Media mini comic website and order some up.

Now, if only I had the gumption to make a tiny long box… that would be nifty. It was a standard business-sized envelope, not the usual big envelope I often find.

Inside I found a folded 8. Five little plastic sleeves the kind I imagine is normally used to distribute personal amounts of cocaine each contained a single mini-comic — much more mini than the typical mini-comic. Writer Brian John Mitchell offers a diverse array of material — a western, a surreal story of murder conspiracy, a Dexter-esque crime comic, and an autobiographical journal-like title — that make for surprisingly engaging reads.

Thumbing through these tiny comics with my meaty mitts was a bit of a pain in the ass, but it was an inconvenience that was ultimately worthwhile. Just a Man 1: In terms of plotting, this was the strongest of these mini-comics. This format only lends itself to a single panel per page, so the reader essentially gets a series of little splash pages. Mitchell clearly understands his format and uses it well.

Lost Kisses s He confesses to rudeness, self-involvement and anti-social behavior. But the narrator, as negative as he can be to others, is also true to himself.

Adding to the confusion is the thoroughly surreal art provided by Kimberlee Traub. Overall, these Silber mini-comics spotlight the versatility of the medium, the affordability of self-publishing and the passion of amateur creators whose independence allows them to play around with more experimental ideas and methods.

Most of these are parts of a series, all of which are easy to pick up on as Mitchell hops from genre to genre. A farmer sees his house burned down, his infant son killed and his wife disappear.

He's pretty sure he knows who did it, and hunts them down, one by one. I liked the voice Mitchell used for the character, but he overwrote this story. That's not unusual for a writer collaborating with an artist, but the story would have had a bit more power if the first-person narrative had been sparer and he let the visuals carry the story.

WORMS had a zippy pace to it and appealingly minimalist art by Kimberlee Traub that fit the story nicely, one that featured a young woman who witnessed the death of her father and was the subject of an experiment in a lab. This issue found her gaining power through some strange worms, subduing her tormentor, and escaping.

The single panel per page format fit with Traub's striking and hallucinatory imagery. XO had a similarly snappy pace to it but was let down by Melissa Spence Gardners art. It was competent, but it didn't fit the story's mood or add anything to Mitchell's narrative, which needed a moodier style. These stick-figure comics were first-person, meandering observations about human behavior and the narrator's own misanthropy. However, in this comic, there's a comedic tension that arises as a result of that juxtaposition.

Issue 10 was especially amusing, as it was a takedown of the concept of love and those who insist on expressing it, with the author worrying about falling for that fallacy himself.

I love how unassuming and direct these comics are; there are no frills or pretensions here--just a writer and artists who are experimenting with a variety of means of expression. I spend a lot of time looking at the websites of comics artists and writers. The professionalism of the Silber Records website does explain something, though. It explains the patient professional follow-through that Brian John Mitchell has displayed in his correspondence with Fantastic Fangirls regarding the reviews of his mini-comics.

That I remember to review them. I have to admire that. The self-promotion aspect of self-publishing comics is among my weakest areas in this whole game — right after the actual production of the comics themselves, which I find to be nightmarish. And 3 is on schedule for September. See, he asked us to review his mini-comics.

Fantastic Fangirls will accept materials for the purpose of review. Acceptance of materials for review is not an agreement to review or mention the work on the site. If we do mention the work, we do not promise or commit to a positive review.

We will make clear in the review the context in which we received the work and any professional or personal affiliations we have with the creative team. We do not accept money or valuable items in exchange for reviews.

Materials sent for review will not be returned, whether or not we review the work. Materials can be sent electronically to any of our emails. Physical copies of works are also accepted. Please email one of the Fangirls for mailing information. In accordance with this statement, Mitchell sent me five of his mini-comics.

Again, the professionalism of his outfit shows in the materials I received. Each mini-comic — and they are mini, each about 1.

The overall impression I got was that the producers of these comics treated them like art, and perhaps I should as well. Though tiny in dimension, each comic was 40 pages — front and back covers plus 36 pages of black-and-white text and art. Scott McCloud, in his must-read book Understanding Comics defines the art form thusly: Of the five mini-comics I received for review, three tell a portion of a story. It does, however, intend to and succeed at producing an aesthetic response in the reader.

This is probably my least favorite form of comics, or comix. But I recognize that, if one likes that genre — if one likes things like the RAW Anthologies — then these are a good example of the type. Each page is one panel. Each panel contains a narrative and a simple stick-figure drawing in which characters interact.

I far preferred the other three comics I read. Just a Man is a western. The story is straightforward, and the simple art by Andrew White is evocative. I think my favorite was Worms, with art by Kimberlee Traub. Mitchell offers his comics for sale. He also offers many of the single issues in digital format, and some are available as short animations. I think I have to say that most of his work is not precisely my thing. But he is quite good at what he does. Tell you what — go to the website and look for yourself.

Check out the digital comics, look at the animations. See if you want to shell out the one, or two, or ten dollars to help an independent artist continue with his work.