It was one of those studio days where you get the yellow giant to where it looks like a cross between the Michelin Man and Marlon Brando in Apocalypse Now and you sort of like that because it goes to the Vietnam War and the present Middle East crisis as a sort of self indugant gluttony for gas and mangos, when suddenly you paint out the witness/assassin and use a lot of precious colors and get tired and are almost ready to call it a day when the whole thing goes south and you have to paint it all out and start over again and hope you saved it. Giant pain in the ass, but I’m past caring. Now it seems some late night creature in solidarity with no one, but itself.
