The king of Thailand just died. There's like an uprising or something.

New Year's resolutions off to a great start in 2019 as I am already failing that whole "don't find any work as a comic artist" one as I clean forgot that I am still drawing Velicity Jones for David Lloyd's ACES WEEKLY, which is currently publishing the second adventure of the titular Jones.
I can only take some small solace that I am at least managing to fail at failing, andshould you be interested in ACES WEEKLY, you can find a means of electronic subscription HERE if you are of a mind to subscribe, and I do hope you will as I would really like to continue eating this year and this may be my only income after... (checks Brexitpocalypse date) March 29th.  HAHA they're doing it just in time for April 1st - what a spiffing wheeze the political classes are pulling on us!  No doubt the laughter they have gifted us will distract from our rumbling bellies and growing resolve to chop their flipping heads off and stick them on blinking spikes where we can spit on their rotting crow-pecked flesh.
Ahaha.  Clearly, I've never really understood this idea that violence has no place in politics, because that strikes me as a utopian notion and the last few years have made it clear we do not live in a culture with utopian aspirations and which still utilises violence and force as an intrinsic part of political process, be it the old-fashioned clubbing of protestors, or the information warfare of smearing anti-establishment voices as antisemitic.  Cards on table here, I myself am a Northern Irish Catholic Republican Socialist whose voting options include convicted terrorists who secured their place in government through a decades-long murder campaign, so my arguing that violence does not yield results would be a hollow claim even before I got to the fact that the state's monopolistic use of violence to resolve political stalemate is the cornerstone of human civilisation.  Central to its ongoing justification is the myth of "stability" through orthodoxy, and (blog post groans loudly as it turns back on course) Velicity Jones is just such an agent of orthodoxy.
A guardian of bourgeois British entitlement who kills people and then leaves their body in a field so it looks like a suicide and then trolls leftists online okay maybe not exactly that but whatever the 1960s equivalent of that kind of behavior was because that's my head canon for her life as a spy, only Lee doesn't go for it, the coward - oh yes, Lee Robson does the writing, in the moments he can tear himself away from lamenting Morrisey's fall from grace (or as Morrisey fans like to call it "after 1982").  Lee prefers to think of this as a spy romp in the style of the original Modesty Blaise strips with a healthy dose of the eurocomic school of ligne claire and a dollop of the Roger Moore era of Bond movies when spy romps were allowed to be colourful and fun and weren't just the adventures of a globe-trotting misogynist.
Unusually for collaborations with Lee, I didn't get notes on the size of the main character's rack on this one, so that must mean we're feminist comrades now.  Well, maybe not, but I think I'll stop listening to Jordan Peterson vox pops just in case.  Boy that guy sure does love his beef.

So uhhhhhh go buy my comic I guess?  It would be greatly appreciated by myself and Lee, but also by the many other fine contributors to ACES WEEKLY who also get a cut of that sweet sweet money pie.

A small-headed man of limited means who lost a fight with a chicken

Continuing the Halloween horror marathon, been watching:
The Pack - initially promising b-movie monster flick about a pack of wolves menacing a family - who are also a pack, so it's got levels - that lost me when it descended into predictable jump-scare cliche and the only unexpected moments came when characters or the script did things that were monumentally stupid and illogical even in the context of a slasher flick.  Shot in Rivendell and Parth Galen, it certainly looks nice, but in this day and age this means little in and of itself and the script fails to do anything interesting in the long run.
Lake Placid vs Anaconda - a mash-up of two different monster movie franchises, both of which started out as trashy-but-fun cinema-releases with bankable stars but which of late have been SyFy-funded, becoming increasingly tedious and aggressively poorer viewing experiences the longer they endure.  There are a great many attractive young women in this, in various states of undress, but any enjoyment you might hope to glean from this element is somewhat undermined by their being bumped-off in gruesome but not very inventive ways, making this a continuation of the popular trend of horror fantasy that doesn't seem to like women very much despite plastering their forms everywhere.  There's a bit where two characters sit around talking about teenage girls and laughing at how they like to get tattoos of butterflies on their ankles and pierce their navels and then they laugh at how vacuous such people are, and all I could think of was those teenage girls who cut themselves when their favorite boy bands break up and Twitterati laugh at them for doing so, responding to the confused pain of other human beings with a misplaced sense of superiority.  This is a paradigm for Lake Placid vs Anaconda's problems, in that it likes to pretend that its making fun of the shallow, characterless, unimaginative filmic and televisual landfill that comprises SyFy's output, but it would be a step up if it could only be as bad as that.  This is poorly-made, cheap, and lacking in even a single moment of wit, the equivalent of a sneering yob arguing with you by repeating your words back at you but garbling them a bit when they do so before announcing that they are doing this "because you're retarded."
I'm not saying Lake Placid vs Anaconda is shit, I'm saying if shit could shit, Lake Placid vs Anaconda wouldn't even be as good as that.
Live and Let Die - WHEN YOU WERE YOUUUUNG AND YOUR HEARRRRRT WAS AN OPENNNN BUWUK... an always-enjoyable warhorse of a 007 outing this one, despite featuring the best Bond YES YOU HEARD ME caps lock sticking a lot today it's often derided for the decision for the franchise to appropriate blaxploitation much as it had other genres, the wisdom being that if you have blaxpolitation with a white lead, you basically have racism.  Particularly in its excesses and casual sexism, blaxploitation as a genre actually shares a great deal with the Bond movies - just watch something like Black Samurai or Black Belt Jones to see what I mean - and so it's actually a more natural fit than many would like to admit.  Eight year old me took it deadly seriously even if viewing it as an anachronistic cartoon was probably the only sensible approach for the eight year old me who watched it earlier today.  Great fun, and I suspect as of this viewing that it may have contributed to my enduring love of wacky chase setpieces, too.