This is another update on my experiences writing and designing the new fantasy graphic novels called Black Dragon and Pink Firefly, which I hope to launch in about two weeks.

I’ll also throw some artwork in here as we go along.

If you didn’t already know, these graphic novels are set in a dark fantasy world with a lot of sex and violence but also a lot of humor, all the good stuff we men like but that left-wing woke society today tells us we’re not supposed to like.

It also differs from any other story (that I’ve ever seen) in that it shows men having ongoing sexual relationships with multiple women and it’s shown as a positive for both the men and the women, instead of something bad, immature, against women, “problematic,” or sinful.

These sexual and relationship scenarios are actually real because they’re based on things I’ve experienced dating dozens of women in long-term non-monogamous relationships over the past 19 years. So readers will actually learn how this stuff really works in real life.

I’ll go into more detail about this when I do my next live stream about this, but here is the process by which I develop these graphic novels.

1. I outline the story, beat by beat. Each graphic novel is around a hundred pages and I have outlined the story up to graphic novel #17 or so. That’s 1700 pages so far and I’m still writing more every week. It’s a big story, big world, lots of plot threads, and over 55 recurring characters. A few characters I show on the website here as teasers.

2. I fully write a chapter at a time, roughly about 30 pages per chapter. I write exactly what happens, who does what, and the dialogue. I have fully written everything out to graphic novel #11 or so (about 1100 comic book pages).

3. I go back to a chapter I’ve already written and I storyboard it. Unlike when writing a novel, when you write a comic book, you have to tell the artist exactly how the page is arrayed and what happens in every panel on the page. I do this as a separate step from writing it, because I want to have my natural writing flow when I do step two, without having to worry about how things are arrayed on the page.

4. Once I’m done storyboarding an entire chapter, I double-check it to make sure it’s perfect. Are all the characters acting the way they should? Is the dialogue on point? Am I adhering to everything that’s happened in the past? Am I adhering to the rules of my own world-building? And so on. One of my rules is that once I send it off to the artists, that chapter is now set-in-stone canon and can never be changed. It’s one of the commitments I’ve made to our customers on our website. So I scrutinize hard before I send it to the artists.

5. I have an art team of seven people. They take my scripts, feed them into AI, and get back a very rough draft version of the artwork, most of which is bad. Only about 20% of this stuff is usable (though to be honest, that 20% is very good).

6. The artists then use that rough draft artwork as a starting point and edit/modify it based on my scripts. This is why the vast majority of the artwork you’ll see in these graphic novels is not AI. (There’s about 5% of the internet that gets rationally angry when they see anything AI-generated (art, music, video, etc), and they’re going to scream bloody murder as soon as I launch these graphic novels, calling them “AI slop” and so forth, even though less than 15% of what you experience in these graphic novels is AI. I made a video here explaining this in detail to pre-empt some of these arguments.)

7. The artwork then goes to the artistic lead, who approves it or sends it back for more edits.

8. Once the artistic lead approves everything, he sends it over to me and I go through every panel. I send it back for more edits, corrections, and updates.

9. The artists make their changes, send them back to me, and we keep going back and forth until I deem it production-ready.

10. The graphic novel is page-set and is then ready for people to buy it. As of this writing, graphic novels #1, #2, and #3 are done, all around 100 pages each. Graphic novel #4 will be done shortly, and I’m currently approving the artwork for graphic novels #5 and #6.

Graphic novels 1-6 will comprise “part one” of the entire overarching story. Part two begins with graphic novel #7 and will probably conclude in #11 or so, then we roll into part three. I have the entire story and all of the plot threads mapped out in detail until the middle of part four.

This is the most exciting and enjoyable project I have ever worked on. That’s saying a lot because I’ve worked on a huge amount of exciting projects over the past 20 years.

This is the first project I’ve been able to work on since the 1990s where I care purely about the product, the storytelling, the characters, and the world, rather than how much money I’ll make. (Because I really don’t give shit about that; this is way too much fun.)

It’s an entirely different experience for me and one that has been so enjoyable it’s difficult to put into words.

Every time I get artwork revisions back from the artists, I essentially freak out like some kind of teenage girl and stop whatever I’m doing and immerse myself in this world I’ve created with these characters that I almost feel are like my children. It’s super weird. But really fun.

I have certain lines, plot points, and story beats in these graphic novels that I have wanted to put into words for over 30 years. That’s how much creativity has been bubbling up inside me for so long.

As soon as I know graphic novel #4 is 100% complete, I will set an official date for the launch of comics, hopefully this week or next. It’s going to be a big deal, at least to me.

More info coming soon.

I just realized the other day that 2009 was probably the best era of the internet. I truly believe the internet will never be as good as it was back then.

Today, the internet is a goddamn clusterfuck, and that’s not a stretch to say. But about 20 years ago, the internet was the coolest fucking thing you’d ever seen in your life.

The 2009 internet was simply amazing because, I think, of three primary components: Myspace, the 2009 version of YouTube, and the blogosphere.

Let’s start with Myspace. Back in 2009, the primary driver of social media wasn’t stuffy Facebook; it was Myspace.

Myspace was the shit. You could design your profile in any way you wanted, including animations, graphics, music, audio, and all kinds of crazy things.

More importantly, unlike Facebook and every other social media platform since then, the culture of Myspace was one of friendliness and openness.

If you’re too young to know or remember, when I tell you exactly how this worked, you’re going to be shocked to hear this.

Back around 2009ish, if you messaged a random pretty girl on Myspace who did not know you and wasn’t even one of your Myspace “friends,” and said, “Hey, how’s it going?” she would actually message you back. (“Hey! I’m doing great. How are you?”)

You could then actually start a conversation, make a new friend, or set up a date and possibly get laid. I know, because I did this a bazillion times.

Can you imagine something like this happening on Facebook, Instagram, or any other modern-day social media platform you can think of as a regular event (and not an unusual exception to the rule)?

Hell no!

But on Myspace back in 2009, this shit was the norm.

I had sex with a lot of attractive women back then using nothing but Myspace. Myspace is also how I met the long-term girlfriend I had before I met Pink Firefly.

It was beautiful. Tom Anderson was a god damn genius.

Next, you had the 2009 version of YouTube. Again, what I’m about to say might blow you away…

Back then, when you had subscribers to your YouTube channel, they actually saw your content(!).

The front page of videos was actually based on videos that were popular and that people were talking about, not something the corporate YouTube algorithm was pushing.

There was an algorithm but it was weak and didn’t do shit as compared to the left-wing, corporatist, statist, biased, unworkable shitpile it is today.

Titles of videos and thumbnails actually and accurately described what was in the video or thumbnail(!). Clickbait existed, but it was rare and shunned instead of the norm it is today on YouTube.

You had unlimited free speech on YouTube and you could say literally anything you wanted with no restrictions, no demonetizations, and no bans.

It was absolutely incredible. I think people today are either too young to know or old enough to know but have forgotten how amazing and revolutionary the original version of YouTube was.

Lastly, back in 2009, instead of Twitter, the driving source of information and debate online was the blogosphere. This meant that if you disagreed with someone, you actually had to sit down and take the time and effort to write an article explaining your views in detail.

It wasn’t like Twitter, where you can just send a quick, snarky, insulting tweet, then the people who already like you jerk off and talk about how awesome you are and the people who hate you simply return an insult of their own, perpetuating a kindergarten level of discourse.

No, back in 2009, if you disagreed with someone on the internet, you actually had to construct an argument, using logic, facts, and data. Parish the thought!

The blogosphere, which I was a strong part of, was amazing because if you found two people or ideologies who disagreed with each other, you could look at both sides’ arguments and make an informed decision for yourself.

This is instead of debate on social media today, which is a bunch of anger, reactivity, irrationality, tribalism, virtue signaling, clickbait, pandering, and personal attacks.

I honestly look back at the Internet around 2009 with the same nostalgia I look back on the 1980s. An absolutely wonderful, exciting, educational time of enriching your life that we will probably never see again.

One of the primary reasons that Westerners are so unhappy today is that they marry the country they happen to currently live in.

If this were 40 years ago, that might be fine. But in the modern era and in the middle of a collapsing Western world, this is a terribly stupid and chaotic idea.

I do something very different, and I’ve been talking about this for many years now. Whenever I move to a country and settle there as a living flag, I never marry that country. Instead, I date that country.

You know the difference between marriage and dating. In marriage, you have to make everything work. If something doesn’t work, you do your best to correct it because you don’t want the catastrophic option of getting a divorce or having to murder your spouse.

When you date someone, if serious problems come up, no problem, you just leave. (That’s of course assuming you don’t have oneitis, but that’s a topic for another time.)

Dating someone is a lot safer than marrying someone.

If you marry someone, you have a long-term vested interest in what that person does or does not do.

As I’ve talked about in my books and blogs, the challenge with that is if that person changes at any point in the next 57 years, even if it’s not your fault, and even if you had nothing to do with that change, you are basically fucked.

Whereas if you’re dating someone, you can spend a little time correcting it if you want, but if it’s a serious problem and you get nowhere with it, you just end the relationship and move on to someone else.

To be clear, I am not talking here about real marriage to a woman or actually dating a woman. I’ve been married for almost ten years (nonmonogamously, of course, OLTR Marriage), and I think it’s great, and I love my wife.

But we’re talking about countries here, not women.

Marrying a country is even worse than marrying a woman because if you’re married to a woman, you can make the argument that you have some control over what she does.

But shit, if you marry a country, particularly a large, powerful, bloated, collapsing Western country, you have literally zero control over what that country does, the stupid shit it engages in, and its long-term future.

All you can do is sit around, cross your fingers, freak out, and complain on Twitter. (And of course, vote in stupid Presidential elections that give you a slight emotional charge for a few weeks but don’t change a fucking thing, something Americans in particular still haven’t figured out.)

I’ll be very specific. Here’s the difference between me and the majority of you reading these words.

I live in Dubai and Paraguay. As I type this article, I am sitting comfortably in Paraguay, taking in the clean, fresh air and admiring the view after arriving a few days ago from Dubai.

You probably live in the Collapsing USA, Cuckoo Canada, Suicidal Europe, or somewhere similar. God help you.

Unlike you, I’m not married to where I live.

This means I am not married to Dubai nor Paraguay.

I love Dubai and Paraguay, but if they really piss me off or do something I don’t like, within 60 days at the very most, I will be gone. I will move out of the country and never return (except perhaps to briefly visit my women there, maybe).

I can do that because:

1. I’m location-independent, with 100% location-independnet income.

2. I have a full Five Flags setup (multiple permanent residences, bank accounts in multiple countries, etc)

3. I don’t emotionally marry any country, even if I really love it.

Does that mean I dislike Dubai or Paraguay? Not at all. I love these two countries.

Dubai and Paraguay are fantastic countries to date. They’re not perfect because no country is, but these two countries are totally hot, have long blonde hair, big boobs, they’re great in bed, and they treat you right.

Unlike the Collapsing USA, who is an angry, overweight bitch who screams at you all day and starts useless fights with everyone.

Or Cuckoo Canada, who is completely crazy and constantly threatens you with a butcher knife while telling you that you’re the problem.

Or Suicidal Europe, a disgusting old lady who spends all of her time having condomless sex with other men, getting STDs and diseases, constantly getting beaten up, and who then calls you a racist when you tell her what she’s doing is probably not a good idea.

So I absolutely love my two homes…

…but because I’m not married to these two countries, I can bail the fuck out with minimal emotional fuss whenever I want if there’s ever any serious problem.

Now let’s take you, or at least statistically you. (I realize not all of you are like this and you are my brothers; well done.) Let’s say you live in the Collapsing USA.

If you’re like most modern-day Americans, left or right, that means that you are likely married to the United States. (Again, God help you.)

Because you are married to the United States instead of dating the United States, you have a massive vested interest in anything the United States does right or wrong.

If anything goes wrong (and shit goes wrong almost every week), you completely lose your mind and freak out, scream on the internet, try to get people to vote for certain people, vote in useless elections, and so on.

If the person you’re trying to elect loses an election, you’re depressed for six months and your life totally sucks.

If the person you’re trying to elect wins the election, then you are orgasmic for several months, only to become pissed off, disappointed, or confused when that person continues to fuck up the country you’re married to. (I’m looking at you, Trump supporters. But, to be fair, Obama supporters were in the same category.)

It never occurs to you to actually leave the country because you’re the beta male oneitis husband married to the bitchy dominant wife who screams at you all day and never has sex with you. You just continue to argue with her and take her abuse and it never occurs to you to just divorce her ass and leave.

In other words, because you’re married to the Collapsing USA or Cuckoo Canada or Junkyard Germany or Breakdown Britain or Authoritarian Australia or wherever, you’re never really happy.

You’re just connected at the hip to this big, horrible, stupid, collapsing empire, and there’s nothing you can do about it.

At least that’s what you think, because you’re married to your country instead of just dating it.

And let me state for the record, as I always do, that if you hate Dubai or hate Paraguay, there are at least 22 other countries that are really great places to live, that are much less bad than your collapsing Western country, and I’m sure you would like at least one of them.

So disliking my two countries of choice isn’t an excuse, pal. Sorry.

If you follow the new model of dating where you live and stick with that model for the rest of your life, not only will you be safer and live a better life, but you will be happier long-term, just like me.

First, I’m doing a livestream (yes, it will be me) this Thursday at 1 PM EST regarding these graphic novels, my writing process, plus stuff about sci-fi and fantasy in the modern era, and a whole bunch of other really cool nerd shit that you’ll really like if you’re into that kind of thing.

Full Q&A also. It’s going to be so fucking fun, I can’t wait.

Link to the livestream is here: https://vimeo.com/event/5873385 so mark your calendar. I’m doing it on Vimeo instead of YouTube to keep things separate.

(And if you want to be notified of these events regarding my new comic books / graphic novels, go here and join the list.)

Now, I’ll talk about how writing graphic novels is different than writing a novel or short stories, which is what I’m more accustomed to.

One of the advantages of writing a graphic novel series is that I can tell story elements through the visuals in ways I can’t with a novel.

For example, in the Black Dragon and Pink Firefly graphic novels (we’re going to release them in early May), the character of Pink Firefly looks like this:

She has big eyes like a Disney character or princess to denote innocence. She has hair down to her heels to denote hyper-femininity. She has larger-than-average breasts to denote sexuality, but she has skinny legs, a skinny waist, and a smaller butt to indicate that perhaps she’s not the kind of woman you’d want to have five children with.

The second most important female character, at least in the first two or three graphic novels of the story, is Baby Zorra. She is very different from Pink Firefly in both personality and bearing, so she has to look different to reflect this.

She has blonde hair like Pink Firefly (because Black Dragon is loosely based on me so he likes blondes), but that’s where the similarities end.

Baby Zorra has boobs, but not the big boobs that Pink Firefly has. Baby Zorra is much shorter (elves in this world are much smaller than humans) and has very large hips, thighs, and butt.

Baby Zorra is a much more confident character than Pink Firefly, so her body is more sturdy-looking and solid, despite the fact that she’s short. She has golden eyes with stars inside them that are more intense and less inviting than Pink Firefly’s innocent, large brown eyes, again denoting an edge to her that Pink Firefly doesn’t have.

For consistency reasons, I have to make sure that Baby Zorra’s body and eyes always look like this all the time, even when she has moments of sadness or weakness, like here:

Or when she isn’t doing something very exciting, like here:

The difference in their two bodies is more apparent when you see them together in the same shot, like here:

If I do my job as the writer of these stories, I can make you view certain characters in certain ways, positively or negatively, just from their appearance alone.

I can also ensure that the female characters, even if they’re all attractive, have very distinctive-looking faces and bodies.

I do that so as to appeal to all types of men regardless of what “type” they’re attracted to, since this is a graphic novel series written for men.

For example, here’s an example of a third woman who looks and acts nothing like Pink Firefly or Baby Zorra:

This is Olyndris, and once again, every aspect of her look is there for specific reasons. The smartass facial expressions, the sexy outfit, the freckles on her face, the perky and higher boobs, all of these things are there to make you view her a certain way, even if she never had any dialogue.

So that’s how I can make you like someone or view someone in a certain way, but what if I want you to dislike someone?

Here’s an example of how I can do that with visuals:

Other than the bat, there are three characters in this image. All three of them get equal focus. All three of them look tough and intimidating. But all three of them are not the same.

Two of these characters look pretty cool, but one of them looks a little off.

Which ones are which, do you think?

If I did my job correctly, you should think the woman in the middle looks pretty cool, and the guy with the red armor on the right also looks pretty cool. The guy on the left wearing the purple outfit looks a little weird, perhaps even dumb.

He looks… off. He almost looks naked.

That’s by design.

This might be a minor spoiler, but the guy in the purple outfit I want the reader to dislike strongly over the course of his character arc. I can’t tell you why right now; you’ll see why when you read the story.

Whereas the other two characters I want you to think are pretty cool, even though they are both antagonists (or are they?).

(FYI, this is a rough draft panel, so when you see it in the graphic novel, it’s actually going to look even better because there are a few mistakes in there that will be fixed by then.)

Throughout the course of the story (and it’s a very large story), I want you to like certain characters, dislike certain characters, and be confused about other characters. I can do this using visuals in ways I can’t while writing a novel.

There are times I want you to think antagonists are cool even though they’re antagonists. But there will be other times when I want you to think antagonists are horrible and make you want them to die.

I’m not saying I can’t make characters likable or unlikable in a novel or short story. Of course I can.

I’m saying that I have this extra tool of visual imagery to reinforce what you believe a character is or should be.

I can also convey other character traits with minimal dialogue, like here (ignore the dialogue and just look at the image first):

And here with no dialogue whatsoever:

What do you think the woman in white (Sylwen) is thinking as she looks at the queen? Now look at Black Dragon’s facial expression. What do you think he’s thinking?

Yeah.

The character of Black Dragon isn’t immune to this visual storytelling either. In his armor, he looks cool and tough, but when he takes his armor off, like in this scene when he’s just had sex with Pink Firefly, he looks like this:

He doesn’t have a six-pack or flat stomach like other comic book heroes do. He’s got a chubby belly that he likes to scratch as he walks around his other companions while almost naked, not giving a fuck.

He’s outcome independent all over the place, again, even if he had no dialogue.

More articles on my writing and design process are coming soon. I love this stuff so much.

If you want a lot more detail, you can join us for the livestream on Thursday.

Today, in the middle of a collapsing left-wing empire, you live in an era that is the most legally dangerous in which a man can have a child.

Therefore, if you want to have children, you need to give some serious thought to how you are going about doing it.

Having children is a highly complex topic and I’m only going to scratch the surface here in this article. Instead, you can consider this article as a summary of other points I’ve made in other places, gathered together in one convenient spot

The first and most important reality is this…

If you intend on having children and you stupidly intend on living in the collapsing Western world for the rest of your life (meaning the United States, Canada, Western Europe, most of Eastern Europe, Australia, or New Zealand), then you must be a multi-millionaire and/or have a very high six-figure income minimally, or else you’re making an extremely reckless and stupid decision.

As I’ve discussed in great detail in my books and blogs, having children in the modern-day Western world is one of the most expensive things you can do in your entire life, assuming you want to raise them correctly.

(Of course, if you’re evil and you don’t give a shit about your children and don’t mind if they are raised incorrectly and turn out to be insane, screwed-up adults, then I guess do whatever you want. But I’m operating under the assumption that you’re a good father and you want what’s best for your kids.)

This means that if you intend on staying in the collapsing Western world for the rest of your life, which in my opinion means you’re completely insane but that’s a topic for another time, then you need to make a lot of money.

And you need to earn this money before you make any woman pregnant, not after.

In addition, if you have a child in the Western world with another Western woman, you need to get a parenting plan written up, signed, notarized, and filed at your local courthouse, again, before you get anyone pregnant.

In some jurisdictions, these are enforceable; in others, they are not, but that complexity is outside of the scope of this article

So obviously, if you have children with a Western woman living in the Western world, not only will it be ridiculously expensive but you will also incur multiple massive legal risks that I don’t need to enumerate here because you can read about them in detail on any red pill content.

This means that the safest way to have children in the modern era is very simple: have children with non-Western women who live in non-Western countries.

This provides you with several benefits.

1. It’s going to be far less expensive to raise those kids properly.

2. You incur virtually zero legal risk. For example, if you impregnate a woman who lives in Colombia and you’re an American, the Colombian government has no jurisdiction to force you to pay child support or whatever. Nor can the Colombian government go after your assets as an American in case of a breakup or divorce. (Especially if those assets are offshore from America!)

Note: I have said very clearly many times that you should financially support any children you bring into this world, and if you don’t, I consider you a complete asshole and an evil influence on our already collapsing planet. I’m just saying the government should have nothing to do with that decision and you should pay on your own.

3. You are likely to encounter a woman who is more excited about being a mother and raising children than you are in the collapsing West.

I realize I’m generalizing here about modern-day Western women; there are always exceptions to every rule, but the generalities are true.

Although I’m about to turn 54 years old, I plan on living at least another 50 years, if not longer (barring the 35% probability of the entire human race being destroyed before then). I also plan on being young and spry during most of that time.

This means the odds are quite high that I will probably father more children at some point. I promise and guarantee that if I do, these will be children with non-Western women living in non-Western countries.

If you’re going to start to whine and complain that it’s more complicated to go abroad to find a good mother for your children, blah blah blah, let me remind you again of the two negatives of staying in your current collapsing Western country:

1. It’s going to be WAY more expensive to raise your kids.

2. The legal risks are going to be insane for you.

3. It’s going to be harder to find a woman who wants take the time and effort to be a mother.

It is actually easier and less problematic in the long term to go abroad to have children abroad than it is to stay in your collapsing Western country.

Let me repeat one last time that if you really want to impregnate an American woman living in America, or any other Western country, and that’s something you really want to do, then go right ahead. (My wife is an American, but we don’t have kids and never will.)

Just realize it’s going to cost a lot of money, so I hope you have a lot.

Also realize that your legal risks are extraordinarily high, and you shouldn’t be surprised if, at some point in the next several years, you’re in some kind of family court paying attorneys thousands of dollars fighting for the right to see your own children.