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Aura joins us this week before the holidays for a plethora of analytical news.

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Link Roundup

• A Bread Company Accidentally Used A Furry Community Hashtag And It Caused Chaos
• $514,746 for charity from the top 40 cons alone in 2017!
• Credit cards used at Midwest Furfest ATMs get fraud calls
• “Animal Noises” podcast by Path Hyena and MMMatches
• ConRoomies Service
• Digital Show & Tell from Xiph.org
• Boozy’s Night Before Christmas Reading
• Furry_irl reddit post weatherfox
• Hanson And The Beast Trailer
• ArcticSkyWolf’s MidWest FurFest 2017 Con Video
• Hiyu Explains Living in Space

News:

• Plastic Objects without Electronics using Wifi
• Science Says Men Should Masterbate 21 Times a Month
• Flushing Human Bodies Down Drains, Denied
• Bargin Hunting Shoppers Treat Customer Service Works as Less than Human
• Male Contraceptive Rubin Gel
• This Website Claims It Can “Erase Your Memories” Of TV Shows So You Can Watch Them Again, Unspoiled
• 60 Lbs of Marijuana
• Florida Attorney Allegedly Filmed Porn Videos In Jail With Inmates

[Live] Floof Precipitate

And the great comic book crossover festival continues: Kong on the Planet of the Apes.  What more can we say?  Well this is how Boom! Studios has it: “Following the events of the first Planet of the Apes film (1968), Dr. Zaius and General Ursus lead a small group of soldiers to the Forbidden Zone to destroy any remaining evidence of Taylor’s time among them. To their surprise, they discover… A Kong! Now they must venture to Skull Island with Cornelius and Zira to discover the truth, but they may not survive the deadliest journey of their lives!” Written by Ryan Ferrier and illustrated by Carlos Magno (with a cover by Mike Huddleston), this 6-issue full-color mini-series just hit the shelves this month. Empire Online has an interview with Mr. Ferrier about the whole thing.

image c. 2017 Boom! Studios

Recorded on ZBC in Tundratown affiliate around 1988 and I didn't get the full commercial for Jerry Vole but left in what I had. Still looking for the full copy of the Electronic Time Machine News special that is advertised at the end. "A mysterious bear appears in Nick's and Judy's agency, who does not want to show her face. She wants Judy and Nick to find her former lover, who is the reason why she can't show her face. The two detectives find this man, but find out on the next day that someone murdered him. Of course, the mysterious woman is their very first suspect." Note: Man, this actually was quite a lot of work and it's amazing how complex edits like this get. I'm tired now. And posted it. And it is done. So I did do that.
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Submitted by Fred Patten, Furry’s favorite historian and reviewer.

Scurry: [Book 1] The Doomed Colony, by Mac Smith. Illustrated.
Vancouver, WA, Easy Prey Entertainment, November 2017, hardcover $30.00 (unpaged [104 pages]), softcover $20.00, Kindle $11.99.

This is the first collection of one of the best, largest (13.7” x 8.3”), and most beautiful anthropomorphic-animal comic strips on the Internet. Mac Smith, a graphic designer in Portland, Oregon, began Scurry: A Post-Apocalyptic Mouse Tale on January 17, 2016, and has been posting about two pages a week. The Doomed Colony contains Part I, Lingering Light, Part II, Beasts of Winter, and Part III, Grim Shadows. These add up to 84 pages, and an Afterword, an extensive Cast of Characters, and samples of Smith’s working process bring The Doomed Colony up to 104 pages.

Smith ran a Kickstarter campaign to raise $8,000 to publish this book. He got $101,230 from 2,129 backers in a month. Smith says in his Afterword that he has not read any of the anthro-animal books that readers have been recommending to him. His influences are 1980s movies like The Secret of NIMH, The Dark Crystal, and The Neverending Story.

Scurry is set in a “post-apocalyptic” world in which the humans are dead or gone but their cities are undamaged. There has been no explanation yet of what happened to the humans (despite the book’s cover, no bodies or skeletons are around), or whether what happened is responsible for the animals’ intelligence (although probably this is just a talking-animal fantasy). The mice in the colony wonder whether the humans could return, or whether there are still some left elsewhere. The setting could be Smith’s Pacific Northwest; the fauna and flora fit it. The rusted and decayed look of the buildings and vehicles, and the overgrown lawns implies that humanity disappeared about a year earlier. Food in the houses has run out. Pets like cats have turned feral and hunt the mice for food.

The Doomed Colony is that of the mice in a house in an unnamed suburban neighborhood. They have eaten all of the food that they can find in their own and other nearby homes. The local ex-pet cats are growing increasingly dangerous. Feral wildlife is moving in; some like beavers and moose are harmless, but others like hawks, wolves, snakes, and owls eat mice. The colony is divided between those who want to stay put and explore farther for food, and those who want to move the whole colony into a nearby city where there may be more food and shelter from wild animals.

Politics makes the debate more convoluted. The mice have been ruled well by an Elder Council, but the Council is literally dying of old age. Is the Council’s preference to stay put based on wisdom, or a refusal to consider new ideas? Is Council Leader Orim’s wish to be replaced by his daughter Pict, whom he has trained to replace him when he dies, a good one, or is it pure nepotism? Is Resher, who leads the faction to move into the city, really working for the colony’s benefit, or does he plan that the colony’s upheaval will give him the chance to take over its leadership?

The protagonist of The Doomed Colony is Wix, a young mouse who is one of the best scavengers in the colony. He is potentially Pict’s boyfriend, but he’s really more interested in exploring new locations. Part I introduces Wix and his best friend Umf, a rat, looking for food in the last house in the neighborhood and running into the neighborhood’s cats; and Pict with her father arguing over the colony’s politics. In Part II there is a rumor of the discovery of a human food delivery truck, resulting in an expedition to find it, which lures Wix and others out of the colony. Part III takes Wix into the forest and introduces some of the more feral characters in Scurry: a hawk, a moose, a wolf.

Smith’s plotting and dialogue are taut. His action seldom slows down. Wix, Pict, and Umf are constantly escaping from huge, bloodthirsty cats and hawks, and enemies among the mice themselves scheme for their betrayal and deaths. The book ends on a cliffhanger, and a notice that Book II, The Drowned Forest, will come in May 2018.

In the meantime, read the semi-weekly Scurry on the Internet.

(Although this book says that Easy Prey Entertainment has a Vancouver, WA address, its Facebook page says it is a Portland, OR business. Scurry is beautifully printed on thick, glossy paper in China. If I may be permitted a personal kvetch, books without page numbers on thick, glossy paper are very annoying because it’s hard to tell when you’re accidentally turning two pages at once.)

– Fred Patten

• Buy on Amazon

Like the article? It takes a lot of effort to share these. Please consider supporting Dogpatch Press on Patreon.  You can access exclusive stuff for just $1, or get Con*Tact Caffeine Soap as a reward.  They’re a popular furry business seen in dealer dens. Be an extra-perky patron – or just order direct from Con*Tact.

CONTENT WARNING: Explosions, pill popping, and freaky animated hybrid creatures. YAY!
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Welcome to Bessie, of Marfedblog, a comics review and criticism site. There’s furry stuff there, and much more, with devoted curation by a fan doing exactly what they love. If you like this, give it a follow. And expect more syndicated content reposted here. (- Patch)

Emily Rose Lambert, is an illustrator and first class graduate from Loughborough University who works as a greetings card designer. Her work encompasses comics, design and illustration, often featuring repeating patterns, showcasing a preoccupation with indigenous American culture, nature and animals.

Dreamscape is the lovely, achingly cute story of two adorable animal characters travelling through a series of dreamlike vignettes that evokes the ephemeral nature of dreams and conveys that sense of disjointed dreamlike logic as the characters drift between seemingly disparate situations and emotions. The story floats effortlessly from the fantastical, one of the figures breaking into fragments, one lovingly patching up the other with clay and leaves to the more everyday, as the dreamers enter a birthday party late and unable to sing along with the other revellers. From the small embarrassments that gently gnaw away at us in the night to the gentle sense of dread as an unknown figure watches us from afar, each instance captures the moments in dreams where feelings seem always just a little too close to the surface, more immediate and raw.

On her own blog, Emily briefly describes her process behind the comic revealing an early draft that she had begun creating digitally until, as she puts it a “boost of confidence in using ink and pencil” promoted her to switch over to more traditional methods resulting in the final comic. It’s a decision that definitely works in her favour, as does the restriction to black and white owing to the anthology it’s collected in.

The first draft almost seems too solid, too real while the traditional hand drawn panels fit the otherworldly tone of the story perfectly. The final version with the soft pencils and ink give her story a suitably intangible feel in the way that dreams often are. A sense that if you tried to bring it any more into focus, recall it in more detail, it would fade away. The sudden sadness upon awakening as you desperately grasp at details that moments ago seemed so clear become more fleeting and blurred around the edges the harder you concentrate on them. Only half remembered,  leaving you only a feeling or a vague sense of them.

The comic ends where it begins as one of the figures looks out onto the stars once more, again emphasizing it’s roots in dream logic and the recursive, circular nature they sometimes taken on, with motifs or events being repeated over and over. Her sparse dialogue has the rhythm and mood of a fairytale. Sweet, whimsical and imbued with both trepidation hope, it manages to cover a complete gamut of emotions in only two pages.

Originally posted on marfedblog, where Bessie reviews and spotlights Furry and mainstream comics.

Let’s add a comment that came up in conversation about syndicating the reviews:

To explain what my ‘aim’ is with my articles and what I’m all about: I love the comics stuff on Dogpatch and other sites but I think it can get a bit insular with people reviewing anything with anthro characters or featuring the same people all the time (Kyle Gold etc) and what I enjoy doing is pointing out new and interesting comics and creators that are part of the fandom that people may not be aware of or increasingly, people outside the fandom who are doing interesting projects using anthro characters. I’m constantly surprised that for a group that gobbles up anything remotely furry still manage not to pick up on some real gems, usually from lack of exposure. I feel that falling back constantly on old favorites doesn’t do the fandom any good. So hopefully I’ll be able to help the site in that way.

Do you recall the Hanazuki cartoon short that ran in front of My Little Pony — The Movie this last summer? It was based on a popular on-line animated series created by Titmouse. Well now IDW Publishing have gotten into the act, bringing out a new Hanazuki: Full Of Treasures full-color comic book series. “Based on the hit animated series, Hanazuki the Moonflower comes to life in this hilarious, action-packed origin tale. See her first encounter with the lovable, pet-able (and only sometimes sassy) Hemkas! Watch her grow her first treasure trees! Witness her run ‘afowl’ of the Chicken-Plant! Enjoy as Hanazuki learns how to harness her emotions to affect real change and save her moon from the forces of darkness!” Got all that? Look for it before the end of December.

image c. 2017 IDW Publishing

DAWWWWW! Where can I get a wolf plush like that one?
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Hello Everyone!

We open this week's show with a discussion of social media and health. During the end of the year it can be a time of social anxiety and depression, especially for those of us encountering the cold, dark, winter months. We talk about a recent study that shows how social media can be used as a means of finding support but cautions about what can happen when that support becomes your sole means of communication.

Our main topic this week is on Cuckholding and Hotwifeing. While you might refer to Hotwifeing as Hothusbanding or Hotspousing, we tend to use Hotwifeing but mean it in a neutral fashion. We talk about the differences between Cuckholding and Hotwifeing, how to safely and sanely get involved in either, and what the ultimate risks for this kink are. We also touch on the fun part of "why do people enjoy humiliation". This is a fun discussion about an often ridiculed and misunderstood portion of the kink community with serious undertones of the dangerous elements involved when you introduce a bull into the china shop that is your relationship.

We close out the show with a question on selfishness: our questioner is worried and feels guilty whenever they act in selfishness in their relationship. Should they be more selfless, or is there a way to practice ethical selfishness without turning into Ayn Rand?

For more information, including a list of topics, see our Show Notes for this episode.

As a programming note next week will be our last episode of the year and we will be taking the first two weeks of 2018 off for vacation and business related travels. 

Thanks and, as always, be well! 

FA 096 Cuckolding and Hotwifeing - Is Twitter good for social anxiety? Do cucks exist or are they a figment of Trump supporters? Can you be ethically selfish in a relationship? All this, and more, on this week's Feral Attraction!

Submitted by Fred Patten, Furry’s favorite historian and reviewer.

Marking Territory, by Daniel Potter. Illustrated by Johanna T.
El Cerrito, CA, Fallen Kitten Productions, November 2017, trade paperback, $14.99 (381 pages), Kindle $4.99.

Marking Territory is Book Two in Potter’s Freelance Familiars fantasy series. There is no Synopsis or What Has Gone Before of the events of Book One, Off Leash. The Freelance Familiars series is recommended, but if you aren’t familiar with Off Leash, you won’t know what is going on.

For the record, the Kindle edition was published in July 2016, over a year before the paper edition.

The narrator is Thomas Khatt, a cougar who was a young unemployed librarian in Grantsville, Pennsylvania. Off Leash begins with Thomas’s next-door neighbor being killed in a suspicious hit-&-run “accident”, and Thomas being transformed into a mountain lion/cougar/puma. He learns that he has been transported to the “Real World”, and as an intelligent animal, he is expected to become a wizard or witch’s familiar; an involuntary magical assistant – in practice, a slave to a magus.

“Yet one thing had become crystal clear; I wanted no part of this world. Losing my thumbs, my house and my girlfriend in exchange for the chance to be sold off to some pimple-faced apprentice did not sound like a fair deal to me.” (Off Leash, p. 35)

To quote from my review of Off Leash:

“Thomas decides to take charge of his own life, even if he is not familiar with the Real World yet. He faces the dangers of our “world beyond the Veil”, of being a cougar loose in a San Francisco residential neighborhood, and of the Real World, refusing to join the TAU [Talking Animal Union] or to become bound to a magus – or to an apprentice – as a familiar.

“To stay off the leash, he’ll have to take advantage of the chaos caused by the local Archmagus’ death and help the Inquisition solve his murder. A pyromaniac squirrel, religious werewolves, and cat-hating cops all add to the pandemonium as Thomas attempts to become the first Freelance Familiar.” (blurb)

Off Leash ends with Thomas still a cougar, but he’s found and rescued his girlfriend, a werewolf (she’s more like a permanently furry wolf-woman) named Touch, and he’s won his independence as a freelance familiar. He’s become a familiar for hire – and if he doesn’t like his boss, he’ll go elsewhere. He’s satisfactorily bonded as the familiar of O’Meara, a magus who is the Inquisitor (police officer) of the Grantsville of the Real World, but who has been gravely wounded in a magical duel saving his life.

Marking Territory begins six months later. Thomas and Noise – her human name is Angelica – are having dinner at an expensive restaurant “beyond the Veil”, posing as elegantly dressed humans:

“Pity slipped into the waiter’s eyes as I gathered my scattered thoughts. Really, I wanted to savor this moment for as long as I could. Thanks to the Veil that blinded mundanes to any magically-induced weirdness, he surely saw a miserable wretch of a man slumped in a wheelchair despite the snappy tuxedo. I didn’t need pity, for this was a triumph! I sat at the table, instead of hiding under it like a pet. He couldn’t see my smile filled with teeth designed to crush the windpipes of a deer or the huge paws that awkwardly pushed on the armrests of the wheelchair in which I perched. Nobody but Noise saw the nearly three-foot long tail that protruded from the space between the back and the seat of the wheelchair.

No one could comprehend a reason for a cougar to come into their restaurant dressed in a tuxedo and sitting in a wheelchair. Therefore, logically, I must be a man. It was a trick I’d only been able to pull off on the internet or in a dark alley.” (p. 8)

Their dinner is majorly interrupted by a transition. Thomas isn’t experienced with transitions yet. O’Meara’s mental connection saves him from its effects, but Noise isn’t immune to it.

“‘ThoOOOMAS?’ Noise’s voice stretched out into an animal bay as everything around me twisted, including her! I couldn’t turn my head away as black splotches appeared on her skin.

Her eyes, wide with shock, slid to the sides of her head, pushed there by the growth of a heavy muzzle. Horns erupted from either side of her skull, and her dress strained to contain the sudden bulk of her body and breasts. The glass she held shattered, crushed with the strength of a massive two-fingered hand.

Behind her the wall shimmered from plain white into roughhewn planks. The elegant table before us became a barrel covered with a red-checked tablecloth, and the silverware, wooden spoons and knives. The salt and pepper shakers blossomed into shallow bowls with piles of spice.

Noise held a hand up to each eye. Her mouth, a maw filled with blunt teeth and a black tongue, hung open like a dentist had used too much Novocain. She closed and opened it as if to speak, but all that came out was a loud, panicked MOOOOO!

Noise clutched at her muzzle. The waiter, or what had been our water, appeared. He bleated a question at Noise as he effortlessly balanced on cloven feet, wearing nothing but his blue vest. Noise just stared at him, her huge blue eyes flicking up and down the man’s goat-like body. Around us the mundanes, now blended with a reality that resembled a barnyard, continued with their meals, the Veil preventing them from noticing anything unusual had happened.” (pgs. 13-14)

The effect doesn’t last long, but it’s a blatant sign that Thomas, as an intelligent but physically unanthropomorphized cougar, is starting a new adventure.

Thomas, still getting used to life as a physical cougar who’s mentally connected to a magus who has become a wheelchair-bound cripple saving his life, feels personally obligated to getting medical help for O’Meara. To do that, he’ll have to quit being O’Meara’s familiar and earn magic on his own as a talking cougar in the Real World, with only (legally) the help of Rudy, a wisecracking, pyromaniac squirrel. Thomas assumes that they will have to do it in Grantsville. Rudy insists they go to Las Vegas:

“‘Wait on the highway and show some leg [Rudy said]. We hitch a ride to Vegas. There’s trouble there that’s gonna need shooting.’

‘I’m still thinking local. I don’t think the Veil would like us in Vegas.’ I stopped to rub an itchy shoulder against one of my favorite scratching trees.

‘No seriously,’ Rudy said, ‘there’s no Veil in Vegas. What happens in Vegas stays in Vegas. Anything magical happens and munds assume it was all a wild bender. Most magical city in the USA. If you want clients to get this whole freelance familiar thing happening, go there. I’ll dig you up a fedora somewhere.’” (pgs. 52-53)

This review is running too long. There are even weirder transitions, a cat-controlled helicopter, and lots more, most of which involves the cougar and the extroverted squirrel dealing with anthro animals of some sort:

“Eight birds stared down at us as Ixey opened her eyes. One was no crow. You might mistake him for a giant raven, but the beak had a wicked curve to it, his talons vicious hooks. This was no scavenger. He was a black eagle, feathers darker than the others, given almost no shine by the glare of their lamppost perch. He hopped forward, gliding down toward us. A single crow followed his lead, her body bursting into a blue light and form blurring as she swooped beneath the eagle, landing as an elegant woman in a white dress. She wore a falconry glove, which the eagle alighted upon as the last of the blue light faded from a ring she wore.” (p. 84)

Marking Territory (cover by Ebooklaunch.com) arguably features magical animals rather than anthropomorphic animals, but what do you care as long as they are talking animals? Decide for yourself whether to read Off Leash first.

– Fred Patten

• Buy on Amazon
• Check Out Fallen Kitten Productions Site

Like the article? It takes a lot of effort to share these. Please consider supporting Dogpatch Press on Patreon.  You can access exclusive stuff for just $1, or get Con*Tact Caffeine Soap as a reward.  They’re a popular furry business seen in dealer dens. Be an extra-perky patron – or just order direct from Con*Tact.

Much thanks to Ethan Staghorn for pointing this one out. "A little film about a Little artist and his imaginary friends that about telling his imaginations. Listen to him."
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the audio of our recent Livestream! Here's the show on YouTube if you prefer that: https://www.youtube.com/watch?v=dLHfAaMmxOY Our Patreon! www.patreon.com/thedraggetshow Telegram Chat: t.me/draggetshow 183 - Fireside Christmas Stream! - the audio of our recent Livestream! Here's the s…

Submitted by Fred Patten, Furry’s favorite historian and reviewer.

Mist, by Amy Fontaine
Knoxville, TN, Thurston Howl Publications, September 2017, trade paperback, $10.99 (168 [+ 1] pages), Kindle $2.99.

Mist is more like a traditional fairy tale than a usual furry novel.

“‘Where am I?’ said the five children. They startled all at once at the sound of each other’s voices.

They peered at each other through the swirling mist, slowly piecing together each other’s appearance. A broad-shouldered girl with brown eyes as fierce as a hawk’s stood firmly, locking eyes with each of the others in turn and staring them down. A much younger, much smaller girl trembled as she gazed into the mist, twirling a golden curl of hair around her finger. A boy with short-cropped, dirty-blond hair smiled kindly at the others. A tall, lanky boy with messy brown hair glanced all around himself, assessing his surroundings. A pale boy with pointed ears frowned at the others. They all seemed to be teenagers of varying ages, except for the quivering little girl.

‘Who are you?’ the children asked each other.” (p. 1)

The five children do not remember their names. They are in a forest of tall trees shrouded in mist. They find a giant redwood with a treehouse containing shelves of books. A book on a candle-lit table is titled Transformations.

“The book had two parts, ‘Part One: Changing Yourself,’ and ‘Part Two: Changing the World.’” (p. 3)

The five children learn that they each have two animal forms (only one of which is revealed immediately to the reader), and they can all talk telepathically, in their animal or human forms. Since they do not know their names, they take new ones. The hawk-eyed girl, who can become a wolf, becomes Karen Starbroke, their leader. The boy with the gentle smile is Samuel Reed, a red deer. The little girl is Tessa Opal, a golden mongoose. The messy-haired boy is Jack Walsh, a lynx. The pale boy with pointed ears, a python, will not show the others what his other animal form is, and only reluctantly chooses a name when pressed by Karen: Loki Avila.

“‘Well, now that we have that established, we can go and use what we can do to be heroes.’” (p. 5)

All during this the mist is swirling closely around them, as though it is watching, listening, and embracing them. Suddenly their apparent adversary appears.

“‘Before the wolf could finish her sentence, a bloodcurdling roar split the night in two.

A quarter-mile away, at the spot from which the roar had come, two slanted yellow eyes glowed in the darkness.

[…]

The yellow eyes belonged to a large, ugly, reptilian face. Its scales melded into the darkness. The big, distinctly split scales made the face seem cracked like ancient mud.

The eyes had risen because the jaws had parted, and the creature’s cavernous mouth now loomed open. Karen saw the ghastly gleam of long, sharp teeth like ivory sabers, with strings of spit clinging like cobwebs to the inside of the gaping maw. For a moment, she stood motionless, watching the creature.

Suddenly, the creature disappeared into the mist.” (pgs. 6-8)

But it turns out that everyone sees the monster differently.

And so it goes. Plenty of exciting events happen, but for no apparent reason. Whenever anyone does ask a reason, it pointedly is not answered.

“Karen blinked rapidly, staring at nothing. Then, she looked at Jack. ‘Let’s wake everyone up. We need to keep moving.’

‘Why?’ asked Jack. Karen wasn’t listening.

After everyone was awake, they took another quick stop at the brook and headed on their way, following Karen toward … well, no one knew where.” (pgs. 13-14)

Karen is friendly toward three of the group, but is constantly berating Loki, usually for being the last to arrive when she orders them to change into animals and dash off.

“Karen returned to human form and glared at Loki. ‘Well, look who decided to show up.’

Loki stared blankly at Karen. ‘What?’

‘Why didn’t you follow us right away?’ growled Karen. ‘If we’re going to be a pack and work together, we have to all stay together. We only have each other to rely on from now on. We might have needed your help to fight that … that thing. And you weren’t there.’

[…]

Karen and Loki glared at each other.

‘What about you, Karen’ said Loki. ‘You charged off and left us without a second thought. How was I supposed to keep up with you all in those swift forms of yours, anyway? I can’t match your pace, as a snake or as a human.’” (p. 8)

The forest, which turns out to be called the Ethereal Forest, seems to be a typical fairy-tale (i.e., European) forest, but its wildlife is North American: coyotes, mountain lions, and so on. There are wondrous things in this world, and the five children have wondrous adventures, yet I get the impression that this was a mistake. Or was it a deliberate effort to bring the magic of Old World fairy-tales into New World settings?

It doesn’t matter.

“In her very soul, Karen felt a yearning as profound as the heavens. Somewhere, a voice was calling her, with music soft and mysterious, lyrics as old as the sea. The voice was without her, yet there within her, too. She might have felt strange, seeking something that was right there inside her, but the urge to wander was too strong. She knew then more than ever that she would fulfill the call no matter what it took. Her emotions a wild dance of red flashes in her head, she was wound up, unable to contain herself, so overcome with feeling. Without realizing it, she had become the wolf. She threw back her shaggy head and let out a powerful, spirited howl. It was so full of lonely longing, so otherworldly and unreal, that the loud, carrying cry seemed alien to all those who heard it. It was so full of strange potentials difficult to grasp that it was like the mist in its ambiguity. The howl that Karen let loose was indeed a thing truly ethereal in nature.” (p. 50)

Mist (cover by Scott L. Ford) is, like most tales of this sort, at heart a teaching experience, for the five children and for the inhabitants of the Ethereal Forest alike. Who is the teacher? What is the mist? Read the book and find out.

Only four will survive.

– Fred Patten

• Buy on Amazon
• Buy on Thurston Howl Publications

Like the article? It takes a lot of effort to share these. Please consider supporting Dogpatch Press on Patreon.  You can access exclusive stuff for just $1, or get Con*Tact Caffeine Soap as a reward.  They’re a popular furry business seen in dealer dens. Be an extra-perky patron – or just order direct from Con*Tact.

This is why I can't get anything done lately. My kitty just wants to play.
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After a successful Kickstarter campaign, Fungisaurs.com is ready to get up and running. “What is a ‘Fungisaur’? Fungisaurs is the name we’ve given to our original dinosaur-mushroom hybrid species. We hope to inspired adventure, science education, and appreciation for nature.” And they are going at those goals from several angles all at once: Starting off with 8 different Fungisaur designs, they have toys, dedicated merchandise, an animated origin story, and even an augmented reality app all in the works.

image c. 2017 fungisaurs.com

Guest post by Nightf0x with a response by Patch.

Flying out to Pittsburgh this past June for Anthrocon was a fantastic experience. I got to spend time with my friends and see this convention for the first time. However there was something that felt a bit off to me.

It took a different experience at Anthro Weekend Utah to make me aware of what exactly I was feeling at Anthrocon. I had never noticed before, but there is a sense of classism in the furry community. (I didn’t experience any of this classism at Anthro Weekend Utah.)

A lot of people in this fandom are successful, and they should be proud of it! However, sometimes this financial success creates an aura of a “holier than thou” attitude that they may not be aware of. By spending copious amounts of money and keeping their social cliques to people in the same financial situation, it creates a feeling of the haves and have nots.

I’m not saying you shouldn’t strive to reach this kind of success. For the most part this fandom is full of people who are intelligent and apply themselves, and they should be happy that they are in their situation. All I’m asking is to just be aware that sometimes, all the extravagance and copious spending creates social rifts. It can be detrimental to a convention’s social experience. This fandom has definitely been through a lot of social change lately, and my hope is that the next change is to be aware that everybody is in a different socio-economic status, and to at least try to be inclusive in that regard. It’s great to see a fandom that is getting more and more inclusive. However I think as a community we could work better on inclusivity across socio-economic barriers.

I’m not saying you’re evil if you own a fursuit or have a lot of money.  But I think everybody should be entitled to have a fun time without feeling the socio-economic barriers they may experience outside of the fandom. In the end, no matter your current socio-economic status, we are all fans of anthropomorphic animals and we all share this in common. Let’s go out there and have fun without class elitism!

– Nightf0x

A rather critical thread about the topic here:

(most) rich furries are classless as shit imo

— McDonalds & Drugs (@CrocutaMane) December 14, 2017

A perspective by Patch – expensive fursuits help showcase the whole fandom’s creativity.

Dogpatch welcomes guest posts as part of the mission of the site, and thanks Nightf0x for contributing.  Open access is one small way to be more inclusive. Sometimes a critical opinion can lead to dissecting a problem for positive qualities. So let me offer thoughts about how fursuiting the fandom is known for can represent “conspicuous consumption” and how that isn’t always bad, especially if it’s more about creativity on display than just hoarding the wealth.

Previous stories that look at the fandom’s most expensive fursuits:

• $11,575 fursuit sale brings comments from Furbuy and seller PhoenixWolf.
• Thoughts from the winner of the record-setting $11,575 fursuit auction.
• Responses to fursuit auction story confirm $17,500 top price.

A $17,500 sale sure makes an eye-catching headline. Those articles get longer lasting views than many on the site, and I think it shows that the issue matters to many furries.  Spending that way isn’t just anyone’s luxury – but like a museum with a valuable collection, it can be more than just personal indulgence.

How? Look at how unique the art of fursuiting can be. Other fandoms and subcultures have art, music, cosplay, and even their own movies. Furries enjoy that stuff, but original character fursuiting is something you only see from furries. Elsewhere you see it called a mascot or Halloween costume, but it’s more tradition or social performance than personal expression. So you can call fursuiting the most visible display of “furriness”, and that includes the way members spend.

Think of what the “furry dollar” buys across the furry economy. Con-going furs spend a lot on travel – the same as any non-fan who takes vacations – but the ones with suits are extra invested.  Dropping several grand on a suit involves putting in all the effort to use it. That makes a special market by furs, for furs, that uniquely brings together fans and skilled makers with event organizers who help them have a “stage”.

In other words, those fans could be a weathervane for how the fandom grows. Furries don’t make movies (yet), they throw cons, and fursuit group photos are the money shots or the crown jewels. The biggest cons showcase over $3 million in furriness (close to 2,000 suiters) at once. Nothing else approaches such a display.

Why mention it if only more privileged furs can take part?  Because they can be considered Patrons of the Arts, and fursuits are for wearing and performing, not being shut away. It enriches an experience for everyone. They’re pricey, but accessibility is relative too.  Fursuit maker skill is an incredible bargain by comparison to other hand-made fashion. Many makers do it for love at near minimum wage for the labor it takes (if you got hand-made jeans, they’d cost hundreds of dollars.)  And if you can’t afford a suit, you can make one yourself.

DIY Power is part of the beauty of what Furries do. There’s class in it, but it’s different than say, collecting rare cars or vicariously watching highly-paid athletes (stuff the mainstream takes for granted as hobbies and fandom.) For other ways to increase inclusion, remember that it’s made of real people who meet in real life. You can reach out to those who want to do meets and cons and welcome them in. Those depend on volunteerism, so someone who can’t afford it can still get in as a volunteer to make an event for everyone. Cons always need more volunteers for operations or to put on panels and make their content better. Even if you want nothing to do with fursuiting, there’s another niche waiting for you. You don’t have to wait for a con, either. Want a guest writer spot here? Make it yours.

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Pete Oswald is a very busy production designer and illustrator. Recently he and his team were responsible for lighting and set design on The Angry Birds Movie. And from his web site: “As a character designer and concept artist, Pete has helped to uplift many of the most successful animated franchises. Among other projects, Pete has worked on Madagascar: Escape 2 Africa, Cloudy with a Chance of Meatballs 1 & 2; Hotel Transylvania; and the Oscar® nominated ParaNorman, for which he earned an Annie Award nomination.” Even with all that going on, Mr. Oswald finds the time to illustrate books for children as well.  Recently he completed one called Mingo the Flamingo (written by Justin K. Thompson and published by Harper Collins). “A hilarious picture book about a flamingo named Mingo who is ready to fly but gets lost from the rest of the flock during a terrible storm. To make matters worse, when he crashes, he completely forgets who he is and where he belongs. With the help and training from some new friends, he must find the strength to make it back home and reunite with his family.” Pete also worked with writers Laura Lyn DeSiena and Hannah Eliot to create a series of “Did You Know?” books — Hippos Can’t Swim and Other Fun Facts being one of them. Also available at his web site.

image c. 2017 Harper Collins

Victoria Ying is an author and illustrator. Her web site has this to say: “She started her career in the arts by falling in love with comic books, this eventually turned into a career working in Animation… Her film credits include Tangled, Wreck it Ralph, Frozen, Paperman, Big Hero 6, and Moana.” Recent she completed Meow!, her first children’s book. “Meow! is a charming, mostly wordless picture book about a feisty young kitten who gets frustrated when her family is too busy to play. Featuring expressive art and sparse text, this fun read-aloud will allow parents and kids to creatively tell the story by expressing just one word in lots of different ways. This sweet and clever picture book is sure to charm readers through to the final purr.” Ms. Ying also illustrated Not Quite Black and White, written by her brother Jonathan Ying. “Silly animals star in this lively picture book that introduces colors in a unique and catchy way. Have you ever seen a zebra wearing pink polka dots? Or a penguin with bright-yellow boots?” Both of these are available on her web site.

image c. 2017 by Victoria Ying

Weasel’s Jazz at the End of the Night is the perfect mix of horrendously depressing and astoundingly relatable, which—in its own way—is horrendously depressing. His stories chronicle the lives of men on the brink of their worst: some who stumble beyond their limitations, and others who succumb to them—some willfully, some not quite so much.Yet, regardless of whether or not the protagonist faces death, there is an eerie realness in the stories that, even if a reader personally cannot relate to the situation, they may still find themselves floating in his incredibly pungent air of despondency. Weasel’s word choice dances from crude and straightforward to emotional and profound depending on the voice of the narrator; some are vulgar, others scared, all incredibly broken in their own unique ways, many in love—equally as heartbreaking. A particularly stark description that resonated with me even as I closed the book was that of Drake: “An embodiment of how many bruises you can have and pretend they don’t exist.”Descriptions such as Drake’s can be found in each of Weasel’s close-to-home depressions, and often they equal in strength. There’s a feral quality to each story, whether it be about drugs, lost loves, found loves, or any other number of life-ruining circumstances; a reader can get lost in the sadness; even when progression comes to a halt in the middle of some pieces, his success in atmosphere keeps the reader lost in his narrators’ minds.Another quality that took me by surprise (but ultimately ended up adding to my enjoyment of his collection) is the interwoven nature of the narratives. A character will see on the news the death of another, or fall asleep with someone else’s ex-boyfriend—these people are falling apart in their own special ways, and sometimes they share, sometimes they don’t. In this, there exists an all-too-familiar liminality as you watch them fall apart separate of one another, sometimes hoping the other made it out better than they did, sometimes not giving it a second thought. In these small ways, Weasel reiterates the desperate humanity of his creations, which lends masterfully to his collection.Now, that’s not to say I do not have my critiques, though they are all small. The first is that many manifest their sorrows in similar ways. I can only read about cigarettes and shitty jobs for so long before it grows stale. I understand this to be a commonality of the impoverished expressed in his work, and, while I applaud his ability to remain consistent and shift his characters’ approaches and opinions regarding these similarities (and while said aspects are never the actual focus of the narrative’s hardship[s]), it still fell short in some areas that may have been expressed better otherwise.The second is that the collection was exceptionally male-centric. Each story featured a male-identifying protagonist and their male-identifying partners (of some sort). Rarely were women ever present in a piece, and never the main character. This again leads to a sense of thematic repetition, though this time harder to ignore than my former complaint. In the simplest of terms, the collection could have benefited from a little more variety.Ultimately however, the collection was a treat. I had it finished in three days, and the only reason I had to set it down was through no fault of the writing—in fact, it was quite the contrary. As said before, Weasel’s engulfing atmospheres and familiar characters invite the reader into the inner-workings of their minds and as such can create a difficult though sadly beautiful journey for an empathetic reader. Jazz at the End of the Night has imperfect characters in an imperfect world, and it is through these familiar imperfections that such a depressing read can be so satisfying when set down.

Elise Walters is an animation artist who creates concept art and storyboards. If you check out here Weebly web site you’ll find at least a couple of her personal animation projects are especially anthropomorphic. “My Pet Shisa is a short animation about a young man in college who suddenly finds himself stuck with a young creature from Okinawan mythology: A Shisa!” Then there’s Benny Bantam: He’s “… a retired cartoon from the 1920s that suddenly finds himself having to cope with the modern world when his studio wants to revive his show for a new generation!” Plus many other projects and shorts that she created.

image c. 2017 by Elise Walters