The Short Stuff: Because your brain stores information based on affiliations (X is related to Y in Z details), whenever you hear or read stuff your brain begins to predict where the communication may lead based on its stored information. If I tell you I canned you can assume:
- I preserved some food to chew later.
- I fired someone.
- I am a Republican (if you have a conspiracy theory leaning mind).
Aside from words like 'can' doing things, symbols such as elephants can communicate to your brain in similar ways. The same is also true for colors such as red. Any visual thing, even nonverbal communications or other actions, can do this too.
My art wants to destroy any pathways in your mind you may have that may lead you into seeing the world in a way that can cause you mental duress such as the Q-Anon conspiracy theories. I take the approach I do because of my faith which taught me 'the time is not only near but now'. Q-Anon serves as a false prophet in today's world. I don't gel with that. So, I want to show the absurdity and the dangers of such influences by making art you can dissect with a forensic lens.
The Long Haul Text Content: Every joke is made two ways: Accidentally, or, engineering. Accidental jokes often come off as very authentic expressions such as candid crowd work moments, whereas engineered jokes can look and feel very structured. The more authentic a joke feels to an audience, the more powerful it is.
The content I've posted up to now has been largely a miss which was anticipated because they were not designed for an 'everyone' audience. This approach I'm taking is called pulse checking. The insights Reddit provides on posts gives me insights based on user interactions that inform me what people understand, gravitate to, and, resonate with.
The Power Point comic strip, which was made in an absurd style, has hidden clues insight of it you would need a graphics program to make plain for viewing. Someone who is dedicated to learning the art would be able to pick up on the cipher I've placed in the works.
Every comedic writer and other comedic artist that's leveraging communication (language which includes laughter, and, nonverbal communication) has a style. Jon Stewart is no exception. However, there are some universal Keys that artists in industry share in their individual jobs in order to make it easier to collaborate. Jon Stewart recently provided a great example of this with the box I've attached in this post.
I call the style I use the "Phony Key". I like the idea of challenging myself by making the linguistic component of comedy as absurd as possible. There's a popular conspiracy theory that says the world is controlled by people speaking in cipher, so I figured I can just turn that over its head by providing a toolkit that makes it possible to discern whether those communications exist (the don't). My Phony Keys include using cipher, which is not something you see in the industry. By cipher I mean encrypted communications.
An example of my cipher use is in the Power Point comic where I hid the message "in" within one of the background panels. Other kinds of cipher can include completely changing the nature of words (e.g. spy movies and shows using code words to communicate complex things). Organized crime takes the latter approach usually --- the FBI and other parts of the intelligence community have people dedicated to decrypting communications like this! It's fascinating stuff.
The way comedic writers train is by using word association games which is often referred to simply as 'The Game'. I learned this from watching organized improv classes, underground activities such as the games hosted on the app Club House, and from watching late night shows such as After Midnight (which has gotten dope with Tomlinson hosting btw). When you're exposed to a word(s) or a prompt to work with, the direction your brain takes you when deciding what comedic content to deliver to an audience reveals not only the way you personally resonate with the invocating tool
, but also what you believe is an appropriate way to both resonate and respond to the invocation. Regardless of if you are aware of that belief, it exists, and, if you are unaware of it, it means it currently exists in a crude form. 'The Game' (word association activities) helps refine that preexisting belief from its crude form into a structured tool that can be used to produce content based on the will of the artist. If you want to have a word association structure in your brain that allows you to make content like Spongebob or a sitcom show, then you need to study not just the programming formats of those shows but the ways they are communicating ideas. Most importantly, you need to study how words are being used as props and how props in the shows are being used to transition scenes or jokes. Not everything has a profound meaning behind it, but even nothing has a forensic meaning behind it such as absurdity. When something absurd happens in a transition point, it can represent the writing team of a show spit balling for a transition or doing something as simple as grabbing words out of a fish bowl.
Everyone has a behavioral profile. This was proven to be very effective for businesses to use by Meta (Facebook at the time) when it was leveraging its Cambridge Analytica tool to engage users and direct them to content. Industrialized comedy takes a similar approach by keeping tabs on consumer trends, and, by pulling marketing data. Large networks have an advantage because they are able to discern their general audience based on not just common word of mouth about shows in public and online on various platforms, but by the marketing data they have at their finger tips as a large network. Your behavioral profile causes you to gravitate towards certain comedy therefor also certain kinds of comedians.
You like Pizzacake? Is it her Reddit content or her Facebook content? If it's the Reddit content, is it because you love it when she's making meta content about comics? If so, is it because you like it when she is doing collaborations with Elk? Do you like the horror content Elk makes and the dark comedy she is embedding in her work? You'd likely enjoy other dark comedies such as Teeth. Artists make content that entertains specific crowds, and artists like Pizzacake specifically are making content that are for multiple crowds rather than niche crowds like the Pokemon guy Colm who throws in a lot of furry bait from time to time that resonates with people who enjoy furry content or, at the least, enjoy laughing at a perceived grossness of it.
Some people are natural at their art and don't need to know how to engineer it. Other people, like me, don't need to know how to engineer it but prefer to know in order to create very specific content. Other people need to know how to engineer it in order to achieve 'funny' when they otherwise wouldn't. Naturally, my mindless sense of funny typically causes people to laugh at my blunt disregard for social politeness with regards to being socially dominated by other people. Other times, it's because I say something radical or downright criminal when I am holding up a mirror for them in moments when I don't know how to deal with a social situation. Other times, it's just shot calling predictions that people consider to be 'too true' or 'too real'. I wanted to take on this project because I am tired of people not knowing why they are laughing. Blindness impedes personal growth. Sometimes people don't realize they're sick somehow. I'm no exception in my past, but I realized I was and I was able to heal through good teaches rather than sticking by teaching who reinforce the bad headspace pathways that need to undergo entropy (need to be overwritten). I am by no means saying you can't laugh at your traumas and that you shouldn't, what I am saying is that you need to understand why you are and the impact it has on your mind --- especially since this determines the types of jokes you'll be making with other people...which determines the kinds of people you decide to surround yourself with when you want to be a funny person.
I've studied far right extremism, far left extremism, and I've studied the hopelessly apolitical. I've done these studies by joining private Discord groups, interacting in person with different groups, and by studying material that is representative of those groups such as appropriate conspiracy theories and resonating artistic content. This paired with my PTSD sent me on the journey I'm taking now through this project. Right now the work downright sucks since I'm taking temp checks and discerning what kinds of people like to express themselves when exposed to content they either disagree with or don't understand. Over time, I'll learn more about how I can connect with them in ways that will make them laugh. And, I'll understand based on acquired positive insights how to create content that resonates with the people who enjoy each piece of content I push. For example, I know based on the first comic that there is a small population on the comics subreddit that have a habit of practicing their attention to detail (regardless of their awareness of it) and are open to jokes which may appear to be politically charged (e.g. gun control and the 2nd ammendment) even though they are not. I also hope that if my hypothesis about a smaller population of extremists existing on the subreddit pans out to be true, they'll pick up my work and see that I am helping them break down any delusions they may have about the world by helping them see the absurdity of things such as conspiracy theories. If there is an even smaller population of people on the subreddit that experience things such as psychosis, I am hoping my art can serve them good by allowing them to rely on it as a control point for when they are experiencing psychosis. Psychosis can have a symptom which can be expressed as 'hyper pattern recognition' which is when the mind is enduring a state of 'error' (an inability to logically discern) which can cause all of the natural fallacies (image attached) to overpower the way a person is experiencing being alive. If a person is able to extrapolate far more things than I am actually communicating in my work, and, read this post and take away from it a contradiction to everything I share, then it is a healthy heads up for them to seek help.
Common Keys
Comedic keys are basically the keys on a piano. Comedy is the piano. Words are the keys on it. Jokes are the music.
There’s no cipher. No coded language. Just common words and expressions people may or may not be exposed to.
These are some common industry key words:
Carrot - an incentive, typically something that is perceived as a 'positive' to a profile (makes them feel good).
Stick - a punitive action, typically something that is perceived as a 'negative' to a profile (makes them feel bad).
Chew - the mental processing of content, can be consciously or subconsciously done.
Fish - using content to attract an audience that is expecting to be entertained.
Hook - a piece of a content that keeps the audience's attention to the art or artist.
Punch - a piece of a content that is intended to somehow make an audience laugh.
Bait - a piece of a content that is intended to draw an audience's attention to bite a hook in a certain way.
Bite - when the audience's attention has been secured for direction by the artist aka 'hooked'.
Lure - same as bait.
Key - represents words an artists may use in their comedic structure that showcase the way it was developed.
Paint - represents telling a story in an artistic way, or, commonly, telling a story differently than its point-by-point happening.
Up Punch - jokes made at the expense of society's most privileged.
Down Punch - jokes made at the expense of society's disenfranchised or overlooked.
Fluff - can represent unnecessary content in a piece, or, content intentionally included to manage tension levels of an audience while directing a joke.
Stuff - can represent meaningless content in a piece, or, content intentionally included to maintain the ongoing immersive experience of an audience.
Food - the content created by the artist.
Sandwich - a joke structure with simple but numerous layers.
Egg - a joke structure with simple layers.
Crack - refers to someone cracking up or primed to laugh.
Salad - can represent a joke structure where different things are tossed in without intentional layers, or, simply word salad.
Air - a social environment's feel.
Temperature - the way an audience is reacting to content, or, gauging an audience to determine that kind of content they will be receptive to.
Air conditioner - the means of influencing a social environment to make it more or less receptive to certain content.
Cheese - content addition that is low hanging fruit such as an easy pun or sappy stuff.
Crumb - pieces of content that are meant to lead an audience to something, for example, bread crumbs can be used to help comedic students understand the structure of an art piece.
Math - typically it's the way words, euphemisms, etc. can be structured in order to convey specific meanings such as combining expressions or words to form keys in order to subtract an essence so that a specific message is communicated in the art piece.
Kill - to reveal a profile via the person's laughter.
Car - typically used to convey to people the ways their mind or body works.
Gas - hype fuel.
Fat - unnecessary stuff inside of a piece.
Switch - words such as in/out (can change based on someone's or a team's key structure) when used in ways that specifically communicate there is an in or out group, or, an announced change up in a routine's direction. 'Changing gears' can be another switch indicator.
Clutch - Dave Chapelle only mentioned this in his recent work via 'sticking people in the clutch'. It represents a gear shifting process, such as the one he uses to exposes the racial biases a society or individual has within them that makes them tolerant of laughing at racist things which reinforce hateful and hurtful things.
Mirror - that which gives you a reflection either literally or metaphorically (as in an actual mirror or a reflection of your mind and/or perceived character).
MY PERSONAL KEYS (I’ll update as I create):
Up - a state of elevation e.g. when you hit big you don’t leave your friends down you bring them up. Synonymous with ‘high’.*
Down - a state of lesser elevation e.g. keeping people down synonymous with ‘low’.*
Good - ‘okay’ or ‘fair’ quality, or, morally correct. •
Bad - horrible, morally incorrect, or, ‘outstandingly excellent’. •
In - Worthwhile, in-group status, or just cool. •
Out - Trash, out-group status, or just bizarre. •
• = can be a natural key one day because it’s in slang/colloquial •• = authentic idiosyncratic (personal) key
Keys are always subject to change:
Because language evolves alongside people and their cultures, such as the ways new slang and lingo is birthed, keys are always subject to natural change.
There are two kinds of keys:
1 - Natural Keys: Words or sayings birthed by a society's experiences such as common euphemisms.
2 - Engineered Keys: Words or sayings birthed by industry, or, individual artists and non-corporate teams.
Engineered keys can influence the evolution of Natural keys and vice versa. If a new key is thrown into a rap, hip-hop, r&b, or other kind of musical piece and becomes very popular then a society is likely to adopt it as a new key. The lifespan of the key is determined by society's relationship to it. For example, if the key is simply perceived as a trend rather than something valuable to hold onto, it's likely a society already has keys that communicate whatever the new key communicates too. The source of the key determines its lifespan too. Trendy music artists are a dime a dozen in modern society. They go in and go out like air in a fan. Competition in today's artistic industries demands the constant generation of new keys in order to keep the bar moving, so not only do new keys have to contend with arguably timeless natural keys but they also are contending with other engineered keys. This is not exclusive to American society. All nations experience natural and engineered keys. Sometimes people come up with a clever way of expressing something and it catches on fast and hardens within their culture as a saying to use to communicate information. This means an engineered key can eventually become a natural key so long as it doesn't die out. For example: One day, someone decided to use the word 'chew' to communicate thinking something over, then, it became popular enough for comedians to use it in their work. The same is true for the word 'cooking' which comedians and musicians use alike --- and eventually the phrase 'let them cook' became a trendy thing to say when someone is in the middle of doing something that caught people's attention.
Any nation that uses language or a combination of language and nonverbals to communicate has its own keys, and, it has key makers --- especially if the nation has artists whose work relies on language or other means of communication. It is a natural process integral the modern human.
No differently than how society is familiar with 'saying it without saying it' or 'saying the quiet thing loudly' or 'saying something quietly', keys can be used to accomplish this familiarity too. Keys can be weaved to reveal parts of an audience through laughter and those parts of an audience may not have the necessary knowledge to understand that the artist is intentionally revealing their minds to other members of the audience such as artistic students. A key can be made in a way that looks like another way of saying X when the key is actually containing an instruction or a 'heads up' to a knowing person.
Dave Chapelle takes advantage of this when he teaches. In interviews he's asserted his work is meant to teach people about racism and its negative impacts on society. He's also asserted in his most recent work as of this time that he loves to 'down punch'. In another performance in his netflix catalogue he states that white audiences are essential for his bottom line. Dave Chapelle is admittedly one of my teachers and I've studied him live --- this must be noted because of my bias being positive about him as a mind healer. In another piece of work, Dave Chapelle admits to never being allowed to 'truly be good'. In his work Deep In The Heart Of Texas he begins the act by sharing the crowd's profile with them without telling them directly that it's them, and proceeds to call the crowd 'pretty good' even though they are laughing at hateful and hurtful things up to that point. Like any average person alive in today's time, he has to lie from time to time in his work in order to educate. Directly after he made his racially driven jokes he proceeds to engage in an act of good by educating them about racism. Now, Dave Chapelle has asserted he has never lied to his audience, and I am certain this is true because it's a common understanding that a comedy performance is an act and people are made especially assured what he does is just that: An act. His character on stage is not dishonest, because it's an act, an act performed by him as authentically possible. He's not going around making and arguing absurd lies, he simply does what is necessary to keep an authentic flow without distorting his real world stories. He consistently down punches the black community in his jokes to largely white crowds to commit to dismantling hate and hurt. And, he caters his jokes to the majority of his audience, hence the audience's sustained palatability of his most recent LGTBQ+ jokes. He knows the profile of his audience. None of this is an assertion that all white people are matching the profile of his audience, it's an assertion that the profile of the white portion of his audience overlaps with the profile of white culture associated with a degree of tolerance to being exposed to hateful and hurtful content. If someone engages in hateful and hurtful things such as racist jokes, has a tolerance for black people, and knows nothing substantial about Dave Chapelle and his works then they are likely to laugh at his jokes --- this is the general profile of new people who become members of his audience. The implication about new audience members means that the experienced audience, if unaware of his act and his structure, are still tolerant of racially driven content being executed in comedic art and so the tolerance represents a sentiment that its either okay for racial jokes to be made or a sentiment that racial jokes can be made if it's by someone from the community the jokes are about.
Theories Of Laughter
There are three theories of laughter that are popularized:
- Dominance Theory - We laugh to assert superiority over others.
- Subversion Theory - We because we are surprised.
- Relief Theory - We laugh to relieve tension.
All three theories are correct and do not make the other eliminated from the reasons behind laughter. This is because there is a fourth theory: Communication Theory (my current work).
As people became more intelligent and capable of communicating in complex ways, laughter became an integral tool in our communication toolbox. The timing and context of someone's laughter passes along information about them to a recipient. For example, if someone laughs at your jokes while you're on a date with them, you're inclined to believe they may share your sense of humor. And, because they may share your sense of humor, they may share your politics. Laughter in this way communicates a wealth of information that may otherwise take hours to learn from the person you went on a date with.
Laughter can communicate submissiveness, superiority, agreement, and much more. It can also be used intentionally to make someone believe you are aligned with them or at least their interests. Because of this, laughter like all other human behaviors is bound by the behavior science well established by the FBI and other behavior specialists in the Intelligence Community. Joe Navarro is an excellent resource to learn more about human behavior and he has a ton of books and videos on YouTube.
Human Behavior Model
Human behavior is an essential resources for comedians to pull from in order to keep a crowd entertained. Their jobs require them to understand human nature, or at least the natures of the people their art attracts, in order to keep them entertained.
Human behavior can be described simply in five categories:
- Soothing - actions you perform that relieve stress or tension.
- Delegational - actions you perform that give or take social power in an interaction.
- Hybrid - actions that can be described by at least 2 categories in this model.
- Neutral - actions that can be attributed to cultural practices such as celebrations, or, actions that can be attributed to physiological things such as mental disorders and other physical conditions.
- Confirmational - actions that indicate a person is actively processing a moment either consciously or subconsciously.
Simple way of remembering this is the phrase: "Stop Doing Hard Nose Calculations." The phrase is also meant to do this: Get you to stop over thinking whatever you're chewing.
Joe Navarro is largely to be credited to this model because his work describes each of the five categories. All I've done is bundle it up in a way that keeps it simple. The reason why he built his career on describing and researching human behavior while on the jobs he had was because he knew that the traditional behavioral screening methods being used by law enforcement professionals only served to prove narrative hunches about cases as true based on the hunches a discerning team would have while working a case. Mind Hunters does a great job of showing the risks being taken by law enforcement professionals as well as the ethical concerns associated with those risks. In the show, they show how profiling can result in 'weird' interviews that can become down right socially unacceptable. However, those interviews were conducted in those ways based on the profiling that was provided to law enforcement professionals in interviews those professionals had with criminals who were open to describing the natures they were either born with or had nurtured through their life experiences. Navarro's work and this work does not refute the legitimacy of profiles. In fact, the works compliment profiles. What Navarro's work and this work do, instead, is argue that human behavior is not as easily discernable as traditional law enforcement makes it out to be. If you swallow when someone is performing a social pincer on you, such as a cop who is speaking at you way too fast and way too aggressively, you may swallow not because you're guilty but because you're terrified. I learned about this move because I worked for a cop who taught me about these things too. Whereas Navarro's more commonly known work asserts that the pincer scenario I described is not a fair assessment to determine someone's guilt, my work goes even further to assert that all of the things I've shared above can be used to condition someone into not only believing they are guilty of a crime they never committed but even the GOOD stuff used to discern guilt with a heightened sense of validity can be used to psychologically condition someone into harboring a sense of guilt that can cause them to trigger a positive response for lying on a polygraph test. In other words: Programming people is very real. This was already proven by the life and existence of Ted Kaczynski who was a victim of MK Ultra --- a highly unethical and immoral experiment program that permanently shaped his brain and damaged his psyche in a way that resulted with him in being prone to becoming the man he eventually did become.
Because of the truth about Mr. Kaczynski, it's very likely there will be people who will inevitably consume comedic content and be able to identify common keys from the industry. In a time where there are people who believe in the conspiracy theory that says America is controlled by leaders who publicly speak in code (and that the same is true in industry), it means it is highly likely that there will be someone in the near future who will begin to identify common keys and associate them with that conspiracy theory. They will see those keys in music too because the comedy and music industries cross pollinate often in high volumes, and this can cause them to become a domestic terrorist like Mr. Kaczynski. So, aside from helping people who are prone to unfortunate delusions due to mental conditions, I also want to help people who would be prone to delusions birthed from fallacy thinking devoid of mental conditions being present. My art and content like this post being publicly available at no cost can make this possible.
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You can practice developing your ability to manipulate natural keys and keys you engineer using the below homework assignment I gave myself.
Homework assignment:
Create an entertainment program to get with: nothing, but, stuff. After tapering in using the prompts, tie the story together with a blender and sign off with a sense and your style.
Answer:
✓ Similes - Stuff like stuffing. ✓ Metaphors - Stuffing people. ✓ Puns - I couldn’t get simple stuff. ✓ Tom Swiftlies - “Sounds stuffy,” said S. Tuft. ✓ Stinky Pinkies - Clue: “Gross.” Answer: “Profitable stuff.” ✓ Spoonerism - Davey Gold Stuffs stuff…or…truthfully…Doctors measure leisure by one’s bad salads (sad ballad). Y’know, taper stuff like that. ✓ Kennings - Stuffer = Chave Dapelle ✓ Pig Latin - Te-ay utay uffaystay Ve-ay-da-ay ✓ Palindromes - Stuff like “refer” and “level.” ✓ Anagrams - Tuffs (check this work). ✓ Antigrams - Stuffing nothing. ✓ Pangrams - Cooking stuff like it’s from a recipe book makes gullible birds go, “Whyda? That’s lean,” and clearly queued up vocal xylophone sounding juicers go, “Yeah but I like zeebras more,” while sticklers read it all and say, “Huh, loud and fat.” ✓ Ambigrams - Ffuts…actually…dollop. ✓ Symbiotogram id/pi with stuffing on the side. ✓ Backronyms - Substance takes up free fissures. ✓ Acrostics - See This Unlike Frank Fay ✓ Rhymes - Enough stuff. ✓ Alliterations - Stop stuffing stupid sticky styles. ✓ Assonance - Food stuff stuffs tough people enough by selling them fluff off the cuff. ✓ Consonance - To keep it curt: Stuff cooks nothing keen. ✓ Rhymes - Stuffy breadstuff. ✓ Backwards Thinking - Nothing stuffing. ✓ Spaced Phonetics - Huh…looks…yeah…deceptively tough. ✓ Close Proximities - This deceptively looks tough. ✓ Extra Spacey - Encounters aren’t something to stretch, no matter the kind, nor how close, even… with an open mind, because it’s tough on everyone. ✓ Guidances - LOOK, SEE, a directive is an order, so, NO, except many times over again, like, it all isn’t more than meets Pop Eye’s spinach, but, well, it is…and it isnt…but it’s definitely about as good as Dave’s stove top stuffing. Like taking candied banana PEELS from the nose of a baby, except no TAKING; only zero (0) intertia. That is Z-E- R-0 action. No action. All shells. No shreds. PEELS only. Maybe other stuff. But peels like oranges. Zesty inaction. Peel to table. But no movement. Just PEEL. And table. The best handicap sticker only absurd people can’t park with. Storefront, accessible, painted blue, red is nice too, and, nonmoving, no moves, no inertia, CAN’T have the inertia, nobody likes the inertia, never been there, but, SEE, WELL, KNOW, man, I ate those peels, so much, so many my tie had to be tied longer. A fat fitting tie. Covered in orange peels. I couldn’t MOVE. Like the banana peel but in the best parking spot you could only BUY if you lost your backbone going ZERO. “Stop,” says the banana peel, but you SLIP, and slip, slipping more, all for anyways. Sneaky peels. So sneaky these peels. Too sneaky if you ask me. Oh so sneaky. Not good for the sneaks. Bad for AIR Jordans. There’s a lot of shoe in a J. That’s why guidance is key when caring for the J’s. All of it is. You have to care for the J’s. They’re meant to be squeaky clean those sneakers. If you take good care of them and PUT them ON the banana peels they still squeak. Sole to peel they say, “Squeak squeak,” because they’re squeaky clean those J’s. Noisy shoes, very loud, very obnoxious, but very beautiful. So beautiful. Especially on a shelf. A shelf with zero action. Where shoes go: Next to the backbone. Never on a kicker. No kicking. No motion. No Dave. Dave is out of the mix now. No stuffing for Dave now. Poor Dave, funny guy. Great with the funny. You see him and you say, because it’s Dave: “Hah.” So sad though about those orange peels. He loved them so much, yes he did. Like a big dog with red paint he ate those peels. “Yummy yummy orange peels,” Dave sounded. So yummy they were, he drank from a well. Tongue to dirt. No filter. Unclean. No rabbi for kosher water. Not for Dave. Could have made the orange juice but he said, “No, yummy yummy orange peels, and the bananas too.” That’s right, bananas are BACK. Like they were just thrown peel and all. Republics love the banas oh yes they Do. B-A-N-A-N-A-S. Especially kangaroos in the courtroom. They CHEW those peels fat and all. Like a Koala named Kah-ma-la. So offense only when you point it out. Like a squeaky shoe. Or a room. You know, stuff. ✓ Parables - A rabbi traveling along the road is beaten with a stick. He’s left for dead so carrots can grow. They even nailed him a big sign. A priest wearing beady a crop top passes him, doing nothing, but, then, a Samaritan comes and helps the man. It worked out because the Samaritan was as good as they say. They became fast friends and broke the bread. The rabbi then made fun of a funny imami. But, the priest, upset from guilt, learned from the beaten Rabbi and accepted the smallest piece of bread he could. As for the imam, Priest threw almost a g on the tickets. Like a sucker. God was confused but proud of everyone. Especially because they all ate the stuff shared. As for the imam, Priest threw almost a g on the tickets. As Aristotle would claim: Like a sucker for stuff.
I have this stuff down. I can do this with almost any word or phrase. You can too. Just never use this for any sort of organized crime. The feds have professionals designated to dissect and discern this kind of stuff. If you choose to anyways: You have received your fair warning and now have reasonable cause to determine your intent.
Try it yourself. It’s easier when you start mixed up and find an order after.
I have another question for you ambigram-makers. What kind of pens/ pencils do you prefer if you draw an ambigram?