Tboy Mag: Issue #2

Friday, September 12th, 2025

A collage set onto an aquamarine background, which looks like the water of a swimming pool. At the top, in orange, grafitti-like text reads “TBOY MAG” in large, capital letters. The O has been replaced with a broken CD disk. Underneath in smaller letters, reads “Issue #2”. Going down the page, underneath the title, there is a packet of testosterone gel, with a clock on it where the logo usually is. To the right, slightly overlapping it, the lyrics “Only one thing comes to those who wait” from 6up 5oh Cop Out by Will Wood are written, highlighted by light blue crayon. In the middle of the page, there is a silhouette of a tree, without any leaves and with twisted branches. In large, red writing, the words “UNLEASH WHAT THEY FEAR THE MOST” is written across the tree in capital letters. There is a real picture of a frog next to the writing, to the right, and slightly covering the word “most”. To the left of the tree, there is a real picture of a needle, with blue water dripping out of it and landing just below where ripples have been drawn. Surrounding the bottom of the tree, there are real pictures of pink water lillies, floating atop the ripples. At the bottom of the page, to the left, there is a bottle of testosterone with white, bougainvillea flowers growing out of it. The second half of the lyrics that were written above are now written across the bottle, reading: “It’s never too late to embrace your fate”. This is also highlighted in blue crayon. To the bottom right, an identical testosterone gel packet is pictured with the same clock on it. There are white stars dotted around the page.

Cover, created by Logan (He/Him)

Tumblr: @ghostboyravenight

A faded image of rain droplets rippling against water creating a background for the black text which reads: “The boy does not expect to live long. He is a half-feral thing, yes, having spent more time among the trees than in the arms of the one he called Mother, but there is only so much one can do to stay alive when their body is rotting from the inside out. The townspeople knew, of course. Maybe they could smell it on him, sense that he would not fit into their design. Hellspawn, they called him. Child of Lucifer. And so they cast him out, killed his only kin, and left him for dead. A shiver wracked his frame despite the horrific heat, the weather only sending the sickness in his guts spreading further, digging deeper, his lungs rattling wetly in the cage of his ribs, and he wondered absently how long he would have to wait before the rot found those and his suffering would cease. The rattling gets louder, and he abruptly realizes it is not his lungs, but the frame of his window, a blackbird blocking out the sun and soothing his burning eyes. Have they begun to rot, too? How soon before the tendrils of dying tissue reaches his brain and The glass of the window shatters under the bird’s claws, sharp pieces glinting in the light against the floor, and the bird perches atop the boy’s chest. He blinks up at it, and, despite knowing there’s little chance of it responding, asks, “Have you come to eat me?” It cocks its head at him and blinks its solid-jet eyes, then turns, picking its way towards his abdomen and leaning forward. He holds his breath, the actions answering his question, and he can’t help but feel relieved. At least this is over, finally, and at least he’s doing something with his life. At least he won’t have to live within this misshapen mass of meat any longer. He doesn’t flinch at the slice of its claws along his belly, black-laced blood flowing sluggishly from the split in his skin and the overwhelming stench of rotten flesh filling the air. He shudders, his stomach – or what’s left of it, he has no idea how much the rot has taken from him – roiling in protest at the fact that that is in him, infecting him. The bird shifts around to the other side, settling below the cut, revealing the festering mass to the boy’s morbidly curious gaze, and begins to eat.” End text.
A faded image of black ravens flying against the grey sky, creating a background for the black text which reads: “The boy expects it to hurt, but it does not. It’s the relief of a thorn pulled from a wound, shade on a hot day, cold water in the face of horrific thirst. If this is dying, he thinks, it is not so bad as I had feared. But it is not dying. The bird does not dig deeper, does not pull his intestines from his abdomen like an overstuffed cushion. It pulls bit after rotten bit of flesh from his body, until his vision blurs and he falls into sleep, fully expecting to never wake up, but he does, his skin whole once more. He’d think it a dream if not for two things. He is no longer rotting. And The Raven is watching him.” End text. Just underneath the text, in the middle of the page in smaller writing, the credit reads: — scribe of lions (He/They/Xe), 16
A four panelled comic is shown. The first panel depicts a white person with their shirt off, back to the camera, and leaning over a bathroom sink. They have reddish-brown hair and their face cannot be seen in the mirror in front of them. The rest of the panel is taken up by the grey, tiled wall. The second panel shows the same thing, except the sink is now fully visible and there is a shadow in the mirror of a slightly warped looking person. The third panel spreads across the page, and from right to left, shows a close up of the person’s face. Their hair is falling over their blue eyes and the lines on their face make them look frightened or exhausted. Next to them, there is a slightly faded version of their face, showing their eyes rolling up into the back of their head. Next to that, there is the final version of their face with their eyes almost fully closed and they appear to be falling judging by the tilted angle of their face. Overall, the third panel is essentially a movement sequence showing their eyes beginning to close and the person potentially collapsing. The final panel is looking down at the bathroom, showing a birds-eye view of the sink, the bidet and the toilet, all standing in a row. Like every other panel, the room is dark, but there is a shadow now standing in front of the mirror. In the bottom right, the credits are written in small, white text, reading: “By Seth (He/Him/They).”

Page 4, created by Seth (He/Him/They)

A picture of a stone arch, through which a garden filled with trees can be seen, serves as the background to a story written in light blue text. The backround photo is tinted a darker blue. At the top of the image, the title reads “The Princess and the Knight” in large blue lettering. The subtitle reads “Part 2” in smaller lettering, underneath which the credits read “By Forgotten Writer (She/Her)”. The story then continues as follows: “And so, the princess sat in her room and mused and thought, but no matter who she approached, there were none who would make her a knight. None would train her. They said she was too slow, too small, too weak, too inexperienced. It would be suicide. She had such a good life already. Why would she trade silks for armour? It made her want to scream and cry and beg, but no matter how desperate she became, no one was willing to make her a knight. Until, at last, as she neared the age of sixteen, and she had all but given up hope, an idea occurred to her. And it was a dangerous idea. It was an idea that filled her with dread and terror, and twice she nearly gave up there and then. But the dream of being a knight spurred her on, and so, the next day, she ordered her horse prepared and rode off into the kingdom. This was not considered strange; for the kingdom was small and safe, and the people loved their rulers. Often, her family would go on trips to visit each town and village, and though her being alone was not usual, nor did it cause alarm. This time, however, she did not go to a town or a village or even a city. She rode north, across the plains. Through the great, dark forest which tore at her cloak and clothes. She rode and rode and rode until at last, she came to the border, and there, she found a great swamp. It was a deadly mire; with mud that slipped and gurgled underfoot, and fetid water that would swallow you up. Here, there was no place for her horse, so she untethered it and sent it off. It was well trained and in a few days, would find its way back to the palace. By that point, she would have succeeded or she would be dead. Dead. She didn’t want to be dead, but somehow, the thought of staying as she was was even worse. For the hundredth time, she steeled her courage, and forged her way through the swamp.” End Text. At the very bottom, in italic writing, it reads “Tumblr: @forgottenwriter”.
An image, tinted orange, of a bedroom window serves as the background for a poem written in black text. Outside the window, trees can be seen, and the window itself is half covered by the curtains on either side of it. The poem is written on top of an orange square, helping to seperate the text from the background image. The title, written in larger, orange letters, reads “Orange Blanket” and is underlined. The rest of the poem, in smaller, black writing, reads: “maybe i just hadn’t noticed but it felt like when i went under every leaf on every tree shook itself free - i woke up under an orange blanket bleary eyed watching autumn through watered lens it's the prettiest one yet there's a metaphor somewhere here, about letting things go, and it washes over me in anaesthetic haze windy street leaves underfoot new boots, new chest clothes that fit i'm less in my own head everything seems a bit sharper drying up a new prescription carving me into the landscape new form metamorphosis this year i wrote a new body for myself when i came to i finally felt like i deserved it.” End Text] At the bottom, in italic letters, the credits read “Iz Green (He/They), 23”
Orange Blanket

maybe i just hadn't noticed
but it felt like when i went under
every leaf on every tree shook itself free
- i woke up under an orange blanket


bleary eyed
watching autumn
through watered lens

it's the prettiest one yet
there's a metaphor somewhere here, 
about letting things go,
and it washes over me in anaesthetic haze

windy street
leaves underfoot new boots, new chest
clothes that fit

i'm less in my own head
everything seems a bit sharper
drying up
a new prescription 
carving me into the landscape
new form
metamorphosis

this year
i wrote a new body for myself

when i came to
i finally felt like i deserved it

Page 6, written by Iz Green (He/They), 23

Instagram: @aspalax

A drawing of two, featureless people, standing face-to-face with each other. The person on the left is a little girl wearing a princess dress, tiara and holding a wand with a star on top. The person on the right is a young man, wearing a t-shirt and shorts with his hands in his pockets. They have not been coloured in. They are fading into the background, which consists of strips of orange and purple, like a sunset, with squiggly lines drawn all over the page in matching purple and orange. Purple stars and dots are also dotted around the page. In the middle of the page, taking up most of the space— but behind the two people— are two long snakes, curled around each other. One is black with white spots and the other one is orange with black spots. They have no features, except the orange one which has a diagonal line for an eye. Written across the page, above, in-between and below the snakes in all black caps, reads the lyrics “You don’t know me, but I know you. And I’ve got a message to give to you” from the song O Superman by Laurie Anderson.

Page 7, created by Logan (He/Him)

Tumblr: @ghostboyravenight

Image shows the floor of a kitchen. Cabinets are seen around the side, and the floor is carpeted with worn squares of different patterned carpet. The image has an orange tint to it. In large, white writing, the title reads: “Beginner’s Tomato Pasta” and is underlined. Below, in smaller writing, it reads: “This is the first recipe I learned as a teenager, and the first recipe I’ll make when I move into my own place one day. For those of you who have moved out, left or been cut off from your homes without any decent cooking skills, here’s a recipe to start out with, as beginner friendly as possible :]” End text. Near the bottom middle of the page, there is a real picture of a plate of pasta with a fork sticking out of it.
A picture of a slightly dirty looking hob, with pans sitting on top, serves as the background image to two small pieces of lined paper, ripped around the edges and taped against the background image. The first one lists the ingredients, with the underlined title of “Ingredients” written at the top of the page in large, scrawly handwriting, and reads: “Pasta Store bought tomato sauce Tinned or fresh tomatoes Half an onion As many garlic cloves as you want or 1/8 teaspoon of garlic powder for every clove of garlic (I use around 1-2 cloves for one serving). Oil A bag of mixed herbs or, if you want to choose/buy the herbs individually: Rosemary, Thyme, Marjoram, Parsley, Sage and Mint. All of these are optional! Chilli powder (optional) Worcestershire sauce (optional) Vegetable(s) of your choosing Salt” End text. The second piece of paper, at the bottom right of the image, lists the utensils, with the underlined title of “Utensils” written at the top of the page in large, scrawly handwriting, and reads: “One medium sized pan One frying pan One wooden spoon One chopping knife” End text. In the middle of the two pieces of paper, thus in the middle of the image, there is a square box with extra information written inside that reads: “I also recommend adding Worcestershire sauce, chilli powder and lentils, but all of these are optional, as are the herbs! Pick and choose whatever you want!” End text.
A picture of a utility room, with a washing machine at the side visible, serves as the background image to a yellow square used to seperate the text from the image. The title, written in large black letters, reads: “The Recipe” and is underlined. The rest of the text reads: “Begin by chopping half an onion as finely as you wish. If you’re unable to chop an onion (or you don’t want to cook an onion), then this ingredient is optional. If you struggle to chop an onion finely, then chop large, round strips and use scissors to chop the rest. Pour a few drops of oil into your frying pan. You can preheat it if you want, but it’s not a big deal. Add some more oil depending on how brown you want the onions. Then place the onions in the pan and stir every so often to avoid it burning. They do not need a lot of stirring (especially if you’ve put a lot of oil in), just a few nudges with a wooden spoon will be enough to keep them from sticking. You can sit down for this part if you need to. They should take around 5-7 minutes to cook. Chop or crush the garlic cloves until fine, or— if you’re unable to (or don’t want to) chop garlic— then 1/8 teaspoon of garlic powder per clove will work (or just eyeball it). You can add the powder into the sauce at the end. If you are using cloves, then add them to the onions one minute before the onions have finished cooking. Adding in the garlic too early will make it taste bitter. When the onions have finished cooking, leave them to one side. You can either begin the next step while they’re cooking or afterwards to avoid things getting too overwhelming. If you want to add vegetables, then wash and chop them up however you wish. I personally go for broccoli and carrots. If you don’t like the texture of vegetables, but want to add them anyway, then I recommend blending up the sauce with the vegetables added if you have access to a blender. If not, then the tomatoes in the sauce are enough, I promise. Fill the medium sized pan up halfway with water, put it on a high heat and wait for it to boil. This should take around 10 minutes, or you can use water from a kettle if you have one. Don’t forget to add a few good pinches of salt! Add the vegetables into the water, turn down the heat a little, and wait for them to cook. Most vegetables take around 5 minutes, depending on how crunchy or soft you want them. Cook them for less if you want them crunchy, and cook them for more if you want them soft. When the vegetables have finished, spoon them out and leave aside. Then you can add the pasta!” End text.
A picture of an oven serves as a background image for a yellow square used to seperate the text from the image. The recipe continues as follows: “Add around 1.5–2 cups (1.5 if you want a small serving, 2 if you want a bigger one). The pasta should take around 10-15 minutes to cook, depending on the type of pasta (brown pasta takes longer than white pasta) or how soft you want it. Make sure the heat is on low, and that the lid— if you’re using one— is at least halfway off, otherwise the pasta will boil over. There’s a lot of waiting during these three steps, so you can sit down and read or watch something if you’d like. Keeping myself entertained helps with the motivation to actually start cooking, and I personally listen to a favourite album or watch cartoons! If you want to add fresh tomatoes, or whole tomatoes from a tin, then now’s the time to chop them. For one serving, I recommend one tomato or half a tin. If you can’t/don’t want to chop them, then you can use pre-chopped tinned tomatoes. If you don’t like the texture of tomatoes, then you can use tomato purée. This step is technically optional, as we are already using store bought tomato sauce, and is only done if you want a richer tomato flavour. At this point, you can add all of the sauce ingredients together: the tomatoes, the tomato sauce, the onions and garlic (or garlic powder) and the herbs. You can also add chilli powder if you want an extra kick, or a few drops of Worcestershire sauce for added richness. You can either add the sauce to a separate bowl, which I find easier for mixing purposes and can be done while sitting down, or you can add all the sauce ingredients directly to the pasta after you have strained out the water. If you use the bowl, then I recommend heating it up for around 20 seconds in the microwave just before you add it to make sure it’s nice and warm. Lastly, spoon out the pasta, the sauce and the vegetables, and you’re done! If you want the sauce to have more of a stew-like consistency, then add a few spoonfuls of the pasta water and mix.” End text.
An image of various kitchen utensils are shown, with a utensils carrier from the dishwasher filled to the brim with utensils and a flower-patterned radio being the most visible objects. This serves as a background to a yellow square that is used to seperate the text from the image. The text reads: “Remember to pick and choose which parts of the recipe you can/want to do! The most important thing is simply to eat, so feel free to peel this back to its bare bones if you need it. Boil some pasta for ten minutes while you watch TV and then dump half a bottle of sauce over it for a quick meal, or just eat the pasta if you don’t like the taste of tomatoes. At the very least, I hope I gave you some decent cooking tips if no one else did. Happy cooking :]” End text. Below, at the bottom of the page, is a real image of a masc-presenting white person (it’s me, the person is me) with their eyes crossed out and with their upper body outlined in white crayon. They are grinning and giving a peace sign. There is an arrow pointed at them, with the words “knows how to cook two meals :3” in white, scrawly handwriting just above the arrow. Around them are a few doodles, also in white crayon, such as stars and a smiley face.

Pages 8-12, created by Logan (He/Him)

Tumblr: @ghostboyravenight

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A collage set against an aquamarine background, depicting the silhouette of a person standing in front of a pencil drawing of a vending machine. The machine is covered in various, real life stickers and grafitti. The side of the machine says “free hrt” in green capital letters, underneath which is a Hello My Name Is sticker that’s covered up by the squiggles on the page. Underneath that, “protect trans kids” is written in scrawly writing, with a Don’t Panic sticker underneath. At the bottom, is written “the only self-made man who matters is a trans man” in small, almost illegible handwriting. Underneath that is a Snoopy For President sticker. The front of the vending machine is mainly taken up by the window, that shows three rows of real HRT bottles. They are sitting on shelves, with the top shelf being lined with stickers of yellow smiley faces. In the corner, there is a black sticker that frames the side of the window, with the Monster logo on it, partially covered by the yellow Nirvana logo. On the side of the machine, a real keypad is shown, but all the other details of the machine are basic pencil drawings. There is a Parental Advisory sticker underneath the window, but instead of the words “Explicit Content” written on the bottom, the words “Not needed” are written instead, so the aticker now says “Parental Advisory Not Needed.” The opening of the vending machine has “Have a nice day” written across it in red, capital letters, and around the opening there are two drawings of musical notes and an anarchy symbol drawn in green. Next to the vending machine is a real picture of a street lamp that looms above the machine and the silhouette. A thin triangle of light highlights them both. Below the lamp, but above the machine, the words “This is the only life you have” are written in a bright red, neon font mimicing that of a neon sign in front of a diner. The whole drawing is covered in various doodles and squiggles and lines in yellow, red and blue. In barely visible green writing, right at the bottom of the page, the words “Build you” have been written in all caps.

Page 13, created by Logan (He/Him)

Tumblr: @ghostboyravenight

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