2005-11-28
Original: 2005-11-28 on Saturday Morning Breakfast Cereal
Transcript
Panel 1:
A wide-eyed man with brown hair, wearing a green collared shirt, leans forward with hands raised in an exaggerated, theatrical gesture. He addresses two children whose heads are barely visible at the bottom of the panel.
Man: "CHILDREN! IT IS TIME FOR YOU TO GO TO... THE CHAMBER OF HORRORS!"
Caption (below panel): "It was mom's turn to have custody."
Votey:
A crudely drawn face (simple line-art style) speaks in a hushed aside.
Speaker: "Isn't it neat how there is no soul behind mommy's eyes?"
A wide-eyed man with brown hair, wearing a green collared shirt, leans forward with hands raised in an exaggerated, theatrical gesture. He addresses two children whose heads are barely visible at the bottom of the panel.
Man: "CHILDREN! IT IS TIME FOR YOU TO GO TO... THE CHAMBER OF HORRORS!"
Caption (below panel): "It was mom's turn to have custody."
Votey:
A crudely drawn face (simple line-art style) speaks in a hushed aside.
Speaker: "Isn't it neat how there is no soul behind mommy's eyes?"
Alt text
Main comic, single panel: A wide-eyed man in a green collared shirt leans forward with arms thrown up theatrically, announcing to two children (only the tops of their heads show at the bottom) in a large speech bubble: "CHILDREN! IT IS TIME FOR YOU TO GO TO... THE CHAMBER OF HORRORS!" with "CHAMBER OF HORRORS" drawn in big dramatic lettering. A caption under the panel reads: "It was mom's turn to have custody." The joke: the over-the-top horror announcement is just dad's framing of the kids going to stay with their mother.
Votey (aftercomic): A simple, crudely drawn line-art face says quietly: "Isn't it neat how there is no soul behind mommy's eyes?" The face is rendered with blank, dead-looking eyes, reinforcing the dig.
Votey (aftercomic): A simple, crudely drawn line-art face says quietly: "Isn't it neat how there is no soul behind mommy's eyes?" The face is rendered with blank, dead-looking eyes, reinforcing the dig.
Transcribed by Claude Opus 4.8.