As Fischerspooner electro-clashes its way out of the speakers, I get all of HIT arrive from Natalie. I'm going to have to tease a couple of frames, as it's lovely stuff. There's a shot with a cigar that's just deliciously vile. I owe this woman alcohol.

I like buying alcohol for good people. Be good people. Get drinks.

On a similar note, I finished the panel breakdowns for Luna 16. All that's left is to cut down the masses of internal dialogue to fit the beats I've provided and it's done and dusted, or at least in form I can call "Draft 1" without lying to myself. It's a method that's increasingly becoming my approach when I'm doing this narrative material - I write masses of dialogue, and then juxtapose it with whatever imagery I'm thinking of using. In the case of the state Luna 16 is in, it's particularly odd, as I know what functional action with regard to plot and character development every panel with have, just not the particular words I'm going to use there, which I'll select from my amassed list of gibberish.

And it's twisted in my hands so much. While the basic form of the ending has remained constant its details - which everyone knows is all that counts - have warped incessantly beneath my hands. The one I ended up with, however, is clearly the best. This goes to prove something, though what I just don't know.

In conclusion: As much as I love the HIT, comparing what I wrote with that with what I'm trying to do with Luna 16 is testament to how far I've come. It may not be any better, but it's certainly trying a lot harder. When it's up, I'll offer a prize for the first person to identify the page which uses the verbal dialogue I've picked up from - oooh - Berlin, Cerebus and Luthur Arkwright.

Just to pick three things I'm ripping off.

Sorry. I mean being inspired by.