The problem I had was that, based on the responses I received, readers believed my work was a little too esoteric. I had been so consumed with talking about "the issues" that I had neglected to actually make things entertaining for the audience. Ellison in particular functioned as a kind of bland cartoon re-creation of myself. The comic needed new blood--something that people could think of as a mascot, or a symbol...some element that could be easily recognized and connected to my work even for people who didn't care about the minutiae of the plot.
Eventually, Sarah and Ellison would talk to each other, and he would treat her with the same kind of mild distrust that he showed at the bus stop:
Next time, I will continue with this chronicle of "Existentia Academica" by discussing more about the beginnings of the Ellison/Sarah relationship, as well as some changes I made to Frankie Greene.