why-2
Original: why-2 on Saturday Morning Breakfast Cereal
Transcript
Panel 1:
A man with reddish, slightly spiky hair leans over and shouts at another person (a figure seen from behind in the lower left). His face is contorted in anger.
Man: "WHY YOU HITTIN' YOURSELF? HUH? WHY YOU HITTIN' YOURSELF? YOU'RE NOT. YOU HAVE NO CONTROL. IT'S ONLY FRUSTRATING BECAUSE IN THIS MOMENT YOUR POWERLESSNESS IS UTTERLY MANIFEST. BUT IT IS THUS IN ALL THINGS! ALL THINGS!"
Caption (below panel): Boy, the existential bullies are the worst.
Votey:
A close-up sketch of the same person's face, now looking confused, blank, or dazed.
Person: "WHAT AM I HITTIN' YOU?"
A man with reddish, slightly spiky hair leans over and shouts at another person (a figure seen from behind in the lower left). His face is contorted in anger.
Man: "WHY YOU HITTIN' YOURSELF? HUH? WHY YOU HITTIN' YOURSELF? YOU'RE NOT. YOU HAVE NO CONTROL. IT'S ONLY FRUSTRATING BECAUSE IN THIS MOMENT YOUR POWERLESSNESS IS UTTERLY MANIFEST. BUT IT IS THUS IN ALL THINGS! ALL THINGS!"
Caption (below panel): Boy, the existential bullies are the worst.
Votey:
A close-up sketch of the same person's face, now looking confused, blank, or dazed.
Person: "WHAT AM I HITTIN' YOU?"
Alt text
A single-panel comic. A man with reddish spiky hair leans aggressively toward another person (shown from behind in the corner), his face twisted in anger as he yells: "Why you hittin' yourself? Huh? Why you hittin' yourself? You're not. You have no control. It's only frustrating because in this moment your powerlessness is utterly manifest. But it is thus in all things! All things!" He has escalated the classic schoolyard 'why are you hitting yourself' taunt into a bleak philosophical lecture about human powerlessness. The caption reads: "Boy, the existential bullies are the worst." Votey (aftercomic): a rough close-up of the same person's face, now looking dazed and confused, mumbling "What am I hittin' you?" — fumbling the line, as if even his attempt to bully has fallen apart.
Transcribed by Claude Opus 4.8.