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An online webcomic about a group of cowboys/cowgirls and their Zombie herd.
An online webcomic about a group of cowboys/cowgirls and their Zombie herd.
9 thoughts on “558 – Cotton Clad Calamity”
Raznaak
Yup, he’s a bastard XD
Dr. Norman (not a real doctor)
Are those pajamas available in XXXL in the gift shop?
Otaku
It’s been a while, so let me ask: Did we get a reason for him to WANT Susie dead? Not to backseat, but if we didn’t, I’m worried were about to move into “Stupid Evil” territory. Now, stupid happens, don’t get me wrong. It’s not bad storytelling for that to be the case here.
You’ve just done a good job NOT having that be a driving factor, so the “Kill off the stars of my successful reality TV show.” seems shortsighted, otherwise. Oh, I guess I could be mistaken about the in-story reality TV show’s success. Like, if the company behind them is losing money, or they think a change in management at the ranch would make the whole thing more popular/profitable, then I can see the above scenario happening as well.
I REALLY think I’m just forgetting something important, but that I don’t have time to deep dive to remind me of, hence the comment. >_<
Deoxy
It certainly has been stretched out over quite a while, but there have definitely been hints from quite near the beginning that whoever is running the reality TV show definitely wants her dead.
But I certainly don’t recall any reason why.
Clint
Yeah it’s fair to not remember since it’s been a hot minute (many, many minutes) but if you feel like a refresher the most relevant bits would be the beginning of Episode 8 and the end of Episode 15. We haven’t explicitly spelled out exactly what The Exec means by his “side hustle” or who was on the other end of that phone call, though.
I’m hoping that when the whole thing is eventually available it will make sense, or at least enough sense to have hung this narrative on.
Otaku
Thanks for the replies, Deoxy and Clint. Yeah, I’d totally forgotten about those things. Good to know!
Evervigilant
Seems about time for the two people who aren’t there to make a surprise entrance as the ace Susie didn’t even know she had.
Scarsdale
There’s still 3-5 people on her side that might be planning something. This guy is a megalomaniac with a god complex, so letting him think he’s the sharpest tool in the shed sets him up for a fall. Everything depends on those cameras, and I suspect their little stop over by the charging coffins had something to do with her actual plan, not the one the a-hole thinks it is.
lyra
Really enjoyed the opening of Zombie Ranch. I like the combination of the western setting with the zombie concept, it gives the story a really distinctive atmosphere. I’m a freelance illustrator and animator, and I’d be interested in seeing how some of these scenes could translate into motion, especially as a short animated teaser or character scene.
If you’re ever interested in something like that, you can reach me here:
IG: eve_verse_
Email: [contact.lilaclines@gmail.com](mailto:contact.lilaclines@gmail.com)
Discord: Lyralilac_
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558 – Cotton Clad Calamity
What would you call this? Armchair assassination? Merk-from-home?
Well, Suzie ain't dead (or undead) quite yet, so we'll just have to see if his gloating is justifiable.
Gratuity included
So there’s an entire entry over at TV Tropes entitled Gratuitous Spanish. I am muy aware of it, and have been since before I threw caution to the wind and decided to have Rosa’s first ever lines consist of a rather colorful expression in her native tongue. Sprinkling your “foreign” character’s speech with non-English words and phrases can be a tricky business, right up there with that issue of writing characters from different cultural and racial backgrounds than you might be familiar with. How much is too much? Is the only way to win not to play?
I’m fortunate enough that I don’t have to theorize about what Latin-Americans and bilingual English/Spanish speakers might be like, since I’m around multiple individual examples on a near daily basis. Many of my friends, and for that matter my half-Mexican wife, barely speak any Spanish at all much less use it in casual conversation. On the other hand, a former supervisor of mine not born in the U.S.A. spoke quite fluent English but loved to pepper her speech with bits from the Old Country, particularly when she wanted to mutter something impolite under her breath. On the other other hand, the bilingual gentleman whom I often consult for idiomatic purposes sometimes has to further outsource to his neighborhood buddies because in his own household he learned really quickly to swear exclusively in English lest he earn a smack from his Spanish-speaking mother.
Pretty complicated, no? While Dawn still operated under her maiden name of Sanchez, she would regularly get telemarketing calls in Spanish, and she’d barely be able to understand why they were bothering her. It was just assumed she’d speak Spanish, and to point out just how ludicrous that idea is, it’s like calling up every Weiss in an American phone directory and trying to sell them something in German. Yesterday’s immigrants are today’s natives. Two or three generations in and the kids are going to sound indistinguishable from everyone else in whatever area they happened to grow up; any knowledge they have of the language Great-Grandma spoke may well be a memory, and something they’d be struggling just as much to learn in school as any other kid who doesn’t have that ancestry.
But let’s get back to the issue of gratuitous use. It seems to me that the major objections to writers putting non-native talk into a non-native character’s mouth are rooted in that concept of symbolizing and short-cutting your way to a form of characterization in an ultimately lazy way. Oh! This guy is French! I will convey that to my audience by having him shout ‘Mon Dieu!’ a lot and having him say ‘le’ in place of ‘the’. This line of thinking can pose serious problems even for a joke character, much less one you’re supposed to take seriously. For instance, one of the related problems documented by TV Tropes is Poirot Speak, where the foreign character will use their foreign versions of simple elements of speech but has no problem with far more complex words or phrases in their non-native tongue. At that point the mode of speaking becomes a bit unrealistic and artificial to the audience and they start questioning why, and if it’s not a plot point then the unsatisfying answer is usually laziness on the part of a storyteller wanting to convey “foreign” without really thinking about it.
Where Rosa is concerned I’ve thought about it. I don’t know if that makes the end product any better, but I do like occasionally having her bust out with some Spanish, especially when she’s alone or frustrated. For that matter I’ll stick occasional Spanish into the mouths of my white folks, because that’s kind of just how things happen near a border or similar cross-pollination of cultures. I myself use phrases like “de nada” in my everyday speech, because for my money it sure rolls off the tongue easier than “don’t mention it”. My very white, very Republican granddad who lived in Texas wasn’t what you’d call a fluent Spanish speaker but certainly knew enough to get by on his trips south of the Rio Grande, and he’d spice his speeches with Spanglish delivered with such gruff matter-of-factness that I never really questioned if he was getting his grammar or pronunciation right. Back in the realm of fiction, Chuck probably wouldn’t pick up on “Me lleva la chingada” except through context, but ‘claro’? Bueno! And Suzie certainly knows enough to roll her eyes at the idea of someone proclaiming themselves to be named “Rosa Amarilla”.
For her part, Rosa is sometimes slipping into Spanish/Spanglish when she wants to mutter privately, sometimes when she wants to impress, and even once I’m pretty sure she called Frank “amigo” just to get under his skin after he brought up cojones. As long as it’s coming from a place where it seems to make sense for the character and no one’s usage seems stupid (unless it’s meant to be), I feel I’m on solid ground.
Besides, if you really think about it, I can’t exactly ignore the elefante in the room. So many words we consider classically “cowboy” come straight out of Spanish, albeit with somewhat butchered pronunciation. Rodeo. Compadre. Lariat, from la reata. Or my favorite, ‘buckaroo’ being an oh-so-Texan mangling of the Spanish word for cowboy, vaquero.
English and Spanish shook hands across the border long before I came along, and not just in one direction, as evident from Spanish phrases like ‘el pet shop’. I’m still no proponent of Rosa shouting “Dios Mio!” every other page to remind audiences of her Mexicanosity… not just because that’s obnoxious, but if you’re surrounded by English-speaking people and trying to ingratiate yourself amongst them, it wouldn’t make much sense to keep loudly reminding them you’re an outsider. You’re only going to do that around them when you slip up, or perhaps have some reason to make an exception.
When those exceptions occur, does it come off as gratuitous? Hopefully not. Gratuitous in the context of storytelling really just means “unnecessary”, so like any story element I’m ultimately gambling on my experience and instinct that its inclusion is worthwhile. Well, that and making sure to consult sources beyond just Google translate if it’s getting beyond the basics. Those are all the tips I have to give. De nada.
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