And after you went to that first appointment that you still got the card for, how that made you feel? And at what point did you realize that you can still move forward and upward? Well, and

I've never shied away from this story, but I probably should.

I don't know.

But anyway, so- That's a great hook.

Yeah, it's a great hook.

I got you guys.

I got you.

Yeah, it's pretty incredible.

to writing these strips, do you have an overarching goal in mind? Do you have a storyline and you're breaking it up into various pieces?

Yeah, so each chapter, which is between 40 and 80 strips, has a plot.

And I'll write an outline.

It's a much looser outline than I would write for a graphic novel, which gets pretty detailed and goes scene by scene.

For Hell, Inc., I'll write an outline that's just sort of, here's the A plot and where I want to get with it.

Here's the B plot and where I want to get with it.

And then here are some other... kind of random ideas that I've got that I'll see if I can work in.

interview?

Yeah.

Not, not, not so urban and, and, you know, it's, the, there's, there's, there's sunsets and there's open, open plains and, and, and, and, and this, the solipsism, like the sort of loneliness of it.

All, all sorts of, uh, all kind of fits.

I mean, I, I, I don't...

I, I, I do get inspiration from Los Angeles though, but a lot of it is the, you know, I was raised here, and a lot of it comes from probably films and, and, and, and Charles Bukowski and the way it's, it's...

You know, it, it's, it's a funny city.

It's a place where people can kind of imagine and dream and sort of, it's a, it's...

Yeah.