A Kill Wolfy history lesson - I created Kill Wolfy trying to get Cartoon Network's attention back when I was real new to the LA animation scene. I wanted to work there bad, and thought making a storyboard that was rated PG with bigheaded lanky characters was a good work sample.

But the more I boarded it, the more I kept seeing opportunities for straight up violence and raunchy humor, and before I knew it it was unrecognizable from the original plan. I did not fucking intend to animate this film (let alone a sequel), the characters didn't even have names

The moment I was sitting at my computer high as fuck thinking about how the name 'Adolf' means 'wolf,' and giggled at the thought of a bunch of people shaming someone for being named Adolf, the cartoon was absolutely just another one of my edgelord ass internet toons.

So originally this shit was just a cynical side project to break into pro storyboarding that I accidentally grew to love. Indie-wise my mind was on a reboot of my old web series 'Necropolis.' (Which would eventually evolve into Hyenaville.)

As time went on, it started to hit me what a difficult film it was to make. I've never been a person who super gave a shit about detailed animation, I've always been about just making hella movies at any cost even if it has to look like shit. It looked impossible to finish and -

big headed cartoon animals -- though something I love in other people's work -- just never came to me as naturally as fighting game-inspired human anatomy. To this day, these characters is hard as shit for me to draw compared to Hyenaville's human characters.

So I dropped it. I made Free Ride and a handful of other boards in the time between when I animated KW in 2015, and just looked at the pencil test once in awhile, feeling like a bag of guilty dicks for never finishing my first openly gay and openly furry film.

Then in 2017, I had a gig at Dreamworks that I left legit feeling like a worthless piece of shit artist. Some of the higher ups on the show very clearly had regrets about hiring me, for my inexperience and my sensibilities, and they showed it as often as possible.

It was the latest in a few really...humbling... industry experiences that let me know beyond a shadow of a doubt what was really important to me creatively. I had fallen off of my indie hustle hard chasing pro boarding, and I felt like terrible artist and much worse professional.

I gave up all my animation industry ambitions that summer. I was never going to be the board artist my friends were, so I just resolved to do me and let the industry just be my job. I didn't look for work the second half of 2018, I needed closure and proof of what I care about.

So I decided to ink/color my first ever portfolio sample, 3 years of industry ass-kickings later that taught me stronger filmmaking technique - I would ink and color every janky shot, drawing and layout that I was sick of looking at (most of the time crying drunk/high at my desk)

But when I got to the end, it was not just closure that I felt, I liked it. A LOT. I felt pride that I thought LA and being surrounded by industry prodigies had cleaned me out for. And when I posted it on Twitter, the furry and indie animation scenes were warm and welcoming

to me in ways that I rarely if ever felt in the industry. It reminded me that there was so much more to love about being a creative than 'success.' Ever since then, there has never been any doubt that I do this for the craft and the community. Making movies for myself and

ya'll is my priority, and it's going to fucking stay that way. Thank ya'll so much for watching my shit, the kind words, and the fanart, and kicking it with me on streams. Ya'll don't know it, but you really saved me from a dark place in my life by laughing at my toons.

I'm going so HAM to give ya'll something meaty and satisfying to chew on next time around that I hope you'll get a few really fun watches out of. I have never worked harder on a film than I'm working on Kill Wolfy 2 to say thank you for that. Thank you so much for watching.