yeahduff

@yeahduff.bsky.social

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Cartoons and stuff. http://yeahduff.com

Lori sits on a tall stool at a bar. She places her drink on the table. Suddenly a car driven by Charles, with Mary in the passenger seat, crashes through the wall, knocking over the table and the drink, as well as breaking the bar in half. Bricks fly everywhere. M: For tonight is not the ideal venue. C: It doesn't hurt that 92's a lot tighter for the accommodation. Mary hits Charles in the head with a brick repeatedly. Lori jumps on to the car, and then on top of the bar. She stands with her hips out, holding a drink. Mary stops and stares at her. Mary and Lori sit on top of the broken bar sipping a drink. M: You don't blame Charles for these states. L: Is the herb in the UK wearing a bikini?
Lori and Mary ride a horse down the street. M: Actually, I didn't really mind spending any interest in your undergarments. L: For the rights of these colonies and the death of the rain. They look on as the horse takes a nap on the sofa. L: She looks uncertain. M: You have to stay active.
Mary sits on a throne on a floating platform in outer space, holding a giant glass of wine. A giant replica of her own head sits next to her. M: To think I could throw together a young heavenly nonsense. A small(?) helicopter flies near her face. She swats it away like a mosquito, and it crashes to the ground. Mary looks out at planet Earth. M: You don't want a second interview for a milkshake. She sips some wine as the floor in front of her closes, three streams of black liquid pour onto the floor.
Lori is trapped inside a body-length mirror. She pushes against its sides. L: And I don't believe the desert sun is a sweet & pretty girl. Mary walks in, pantsless. She goes to the counter and picks up a coffee carafe. She pours coffee into her hand, and brings it to her mouth to drink, spilling a great deal on her face and shirt. Mary is at the mirror, her hands dripping with coffee, with Lori pressing on the glass, looking distressed. L: She gets on ceilings for you. M: And I don't worry about needing a man.
Melanie stands at the bottom of the stairs. M: Like, the time is gonna answer my phone, ohmigod! She howls. Charles is behind her, sitting on a bed. C: I mean, it's never not awkward. Melanie chucks a martini, glass and all, into Charles's face. She gets right up into his face. M: You know how this can end. C: I guess love already gained a second home.
Lori walks to a department store called Consume. It is closed. Lori yanks open the door and throws it to the side. She walks in. She slips her skirt off. She looks through it. She is on top of a counter screaming, swinging a microphone as a fire blazes around her. She walks up the steps to an altar. A backpack is there. She holds the backpack and stands in front of the blaze. L: She doesn't like this place.
Mary is driving with Charles in the passenger seat. C: Your really mean they are endowed by your stars? M: In the desert, you have a cock inside your heart. The car comes to a screeching halt inches in front of a strange man in a dark cloak. Strange man: Is that much poorer without saying something? M: Oh fuck ~that~ noise. Mary drives in reverse. The car is parked down the basement stairs leading to a pub called Booze. Charles and Mary stand at the bar. C: I dunno, so you obviously overdressed. M: Charles, you should really quite while you're here.
Drawing of Mary with her head down on a counter holding up a miniature Charles head, in the style of Man Ray's photo "Black & White". 8:1: Un Bâtard Andalou: I'm an American, You're a Sick Asshole By BDuffy America 250
Mary (off camera): You make a thing for Make a Terrible Comic Day yet? Participation is compulsory, y'know. Charles (playing Nintendo): Ain't got time. M (now in frame): Oh, you take time on those doodles, do ya Picasso? C: I mean, yeah. But I also don't have any ideas. M: Just use an old terrible idea. C: ~All~ my ideas are terrible. M (sitting on the bed now): Should be a normal day for you then. C: ~You~ make one yet? M: This is your weird cult, not mine. C: Excuses. M (reaching off panel): Fine. Gimme a pencil. C: Huh? (Close up of Mary writing/drawing in a notebook on her lap. ) M: Here. (Some messier drawings, representing the comic Mary just drew) C: my name's Charles. I want people to think I'm an artist but I hate drawing. (He stands behind Mary, who stands proudly, smiling) Mary's the coolest! C (the real one): Sigh.
8:1 frame overlayed with visual master Jerry Seinfeld.
Lori of 8:1 in a short green sleeveless dress with gold buttons and a brown belt over a white blouse with a gold stripe on the cuff, brown ankle boots, black thigh highs and dark red lips. Outfit designed by UnknownSpy.
Closeup of Lori's head and the equally large bow on top of it.
Lori of 8:1 in a short white lacy slip dress, a white feather hood tied with a red ribbon, short white lacy gloves, red slingbacks, and comically large red bow on her head. Outfit designed by UnknownSpy.
Lori of 8:1 in a black and white striped minidress covered by a black sleaveless blouse, with black heeled sandals, a black hair band with a bow, shiny red lips and long shiny black fingerless gloves (or sleeves? I dunno). Outfit designed by UnknownSpy.
Lori of 8:1 in a black patent leather dress and thigh-high boots, both with cutouts and trimmed with red velvet, fishnet tights, a red jewel with black batwings hanging from a thick black choker, a black bow, shiny red lips, and shiny black eye makeup. Just generally looking like a hot vampire. Outfit designed by Unknown Spy.
Lori of 8:1 in a pink crop top with grey and white stripes on the sleeves, little grey shorts, pink thigh highs with grey and white stripes on top, big round glasses, and several large white bows around her neck and ankles. Outfit designed by UnknownSpy.
Close up of Lori of 8:1 in pink tube top and bunny hood, featuring giant ears and giant buttons. Outfit designed by UnknownSpy.
Lori of 8:1 wearing a pink and yellow tube top mini dress, pink classic sneakers tied with one large yellow button each, and a pink and yellow bunny hood with comically large ears. Outfit designed by UnknownSpy.
Lori of 8:1 in a black top, white skirt, maroon tights, and teal eye makeup. Outfit designed by UnknownSpy.
Cover image from Eight to One Episode 16 ....And Instead Fought a Madman with Star-Warsesque imagery involving Lori, Mary, Charles, Mary's car, a catholic church from the 1960's, and The Death Star.
Ink and colour paint marker drawing of Rosalina from Super Mario Galaxy, her eye(s?) closed, seen from crown to shoulders.
Yep, that sure is Jenna Ortega.
Digital drawing of a dramatic dark blue silhouette of beautiful young woman in a torn ball gown and, wait—is that Jenna Ortega?!?!
A colour drawing of Lori from 8:1 dressed for a date, slouching on a couch, saying "Rats". The words "Happy Valentine's Day" are underneath the drawing. The image looks vaguely like a greeting card, except kinda lazy.
A very adorable ink drawing of Lynx from Chrono Cross.
Simple somewhat cute ink drawing of Harlequin from Chrono Cross.
Simple and somewhat cute ink drawing of Serge from Chrono Cross holding a very large sea swallow.
Ink drawing of a bright sun with a happy face wearing a witch's hat.
Ink drawing of a young witch looking sullen next to her black cat in profile view.
Lori of 8:1 leaning against a balcony, a purple sky behind her.
A drawing of Lori from 8:1 barefoot in a short skirt, sideeyeing with her hair flipped to one side. Her hair is indeed blonde.
Drawing of Mary from 8:1 leaning forward a little smoking a cigarette.
Digital colour drawing of Lori from 8:1.
Wedge saying "Reading is Fundamental" from classic 90's Kid n Play vehicle Class Act.
Scribbly digital colour drawing of a young woman on a couch.
Drawing of four guys standing at the bus stop outside of a factory.
Pencil sketches of a light post and a sewer grate.
Colour drawing of Princess Zelda with Tri in the Still World.
Mary stands shivering. She lowers herself to the floor. She lies flat on her back staring at the ceiling. She reaches towards her face. She holds her eyes in her hand. She sits up and grasps the top of her head. She puts her head to her side and places a notebook on her neck in place of it. She takes a lighter and lights the notebook on fire. The notebook is engulfed with flames.
Charles lies in bed with his eyes closed. Mary looks at him angrily. C I dunno, so what if I don't believe drugs. M You just got your ass beat. Mary grabs Charles's arm. She flings him to the floor to his great surprise. Mary walks to a chair and sits down. M That wasn't me. It was your mother. Mary looks down on Charles as he lies tangled on the ground. C The next month of Charles looks defeated.
Charles leans against the wall as Mary descends the stairs to his level. When she arrives they look at each other with annoyance. C Well I'm sure you'll be single for tonight. M Oh relax and have a girlfriend. Cracks form in the floor and creep toward their feet. The cracks run underneath them and then up the wall and the stairs as the floor begins to crumble apart. Charles and Mary fall amongst the crumbled pieces of the building. C This is something more serious. M No reason to get involved.
Mary and Charles stand outside some double doors. Mary is dressed for a funeral, with black dress, bonnet with veil, gloves, and tights, smoking a cigarette. Charles is dressed normally, looking very uncomfortable, clutching himself. C You have any good paintings of Roger Daltrey? Mary looks to the side dispassionately. M I mean it's a just a strange city. Mary takes a drag as Charles looks in anguish. C Howzabout next time we don't skip a picture of her mother. Mary turns only her eye toward Charles, a subtle note of deep contempt in her eye. She exhales smoke as she speaks. M Sounds like maybe you've partaken from the buffet. Mary looks away as Charles clutches at his face and neck. C A good father gets when he's at Menards.
Lori, Mary, and Charles stand outside a bar. M Oh relax, Baby Saint is still empty. L This place happened yesterday. C Definitely something about needing a machine. A strange glowing door with a single eyeball on top appears in the middle of the street. Mary and Charles look at it with concern. M No time is gonna answer. C Well, if you have to stay. Lori steps toward it with a serious and curious look on her face as Mary and Charles look on with fear. Lori puts her hand through the door, which disappears in the frame. She then sticks her head through the door. She falls backs away from the door, clutching her head. L Hah- Ah- She lifts her head, her mouth agape, and glowing smoke pours out of her eye sockets. She ascends into the air in an explosion of light as Charles and Mary look on. Lori is revealed completely nude, her hair wild, holding fire in her left hand, a flaming sword in her right, flying on black wings, a jagged halo resembling the sinister cloud over Death Mountain in Ocarina of Time over her head. A closeup of Lori's face reveals glowing eyes set in burnt out eye sockets. L I am a cab to the show. I know what you are.
Mary and Lori sit sullenly in a booth at an empty diner. Lori's eyes are closed. The kitchen is on fire. Charles's face is on the wall. L I dunno, so what should I be then? Mary can't look at her. M No time for hibernation. Lori looks straight at Mary. L But you look like you're going through god while you're still crying. Mary wipes her eye but keeps them closed. M I guess love already wasted the world. The fire burns. Charles's eyes watches over. Mary rubs her face and looks away as Lori looks down. L And I don't really know the difference.
Lori is at a gas station, dancing ballet, wearing only a sweater and tights. Charles approaches as Lori's back is turned. She immediately turns around and stiffarms him in the forehead. C But I see what you mean. L Time for you to hear a girl who knows her way around. Lori puts her face right into Charles's. She whips around and walks away with eyes closed and nose in the air. Charles stays there standing next to a gas pump. C This is basically my second home.
Charles sits at a bar holding a drink. A wild looking man across the bar looks at him intensely. W That's what this place was thinking maybe. Charles tips his drink towards the man. C Do anything else from your chest and your hormones. The man runs at Charles. We see the man looking down from below. W The door opens out to everyone. Charles lying on the floor as the man presses into this eyes. C This is weird because Chicago doesn't already have any interest in my head.
Lori walks down the street. L Well I'm not exactly sure I'll understand when I'm pushing 50. The sun, spiky with a swirly line in its center, speaks to her. S You don't look like you're going somewhere else. Lori looks concerned. L The sun is not supposed to talk.