Today’s Art (25th April 2019)

Well, today’s artwork was something of a failed experiment. Basically, I tried to make a slightly more impressionistic piece of digital art based on this photo I took of part of Portsdown Hill last May.

As usual, this digital painting is released under a Creative Commons BY-NC-ND licence.

“Portsdown Hill – Impressionism” By C. A. Brown

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The Complete “Work In Progress” Line Art For My “Damania Retracted” Webcomic Mini Series

Sorry that it’s a day late, but here’s the “work in progress” line art for my recent “Damania Retracted” webcomic mini series.

If I remember rightly, there weren’t really any major art/dialogue changes between the line art and the finished comics. Like with the previous couple of mini series, some of these comics used photo-based elements, so there are two missing panels in the second comic and the line art for the third comic looks a little bit different to usual.

As usual, you can click on each piece of line art to see a larger version of it.

Anyway, enjoy ๐Ÿ™‚

“Damania Retracted – Eurovision 2018 (Line Art)” By C. A. Brown

“Damania Retracted – Pretty Tedious (Line Art)” By C. A. Brown

“Damania Retracted – Internet (Line Art)” By C. A. Brown

“Damania Retracted – Shibboleth (Line Art)” By C. A. Brown

Today’s Art (24th April 2019)

Well, today’s digitally-edited painting is based on this photo I took of a field on the side of Portsdown Hill last May. And, even though I was fairly tired when I made this painting, it turned out at least slightly better than I’d expected.

As usual, this painting is released under a Creative Commons BY-NC-ND licence.

“Portsdown Hill – Field” By C. A. Brown

Review: “Aliens: Rogue” By Sandy Schofield (Novel)

Note: Due to scheduling reasons, the “making of” line art post for my recent webcomic mini series won’t appear here until tomorrow. Sorry about this.

Well, although I’d originally planned to read something a bit more “high brow”, I was kind of in a stressed out mood and just wanted to read something fun. Something like the kind of novels I used to read all of the time when I was a teenager.

Then I remembered that I still hadn’t read the second half of a two-novel “Aliens” omnibus (that contains Robert Sheckley’s 1995 novel “Aliens: Alien Harvest” and Sandy Schofield’s 1996 novel “Aliens: Rogue”) that I’d bought second-hand a few months ago. So, this seemed like the perfect opportunity ๐Ÿ™‚

So, let’s take a look at “Aliens: Rogue”. Needless to say, this review may contain SPOILERS.

This is the 1996 Orion (UK) paperback omnibus that contained the version of “Aliens: Rogue” I read.

The novel begins with the crew of a civilian spacecraft, captained by Joyce Palmer, emerging from suspended animation after a long voyage to a remote asteroid facility called Charon Base. The spacecraft is carrying a passenger called Mr.Cray to the facility, since he seems to have some kind of classified business there.

Meanwhile, in the former penal colony mining tunnels near the facility, a detachment of space marines are trying to catch an alien specimen for Professor Kleist, the ZCT Corporation scientist who runs the facility. Unfortunately, the experimental technology the marines are using to stun the deadly aliens doesn’t work perfectly and one of the marines is killed – prompting another marine to blast the alien to smithereens with his rifle. Watching on CCTV, Kleist is absolutely horrified…. about the death of one of his alien specimens.

After a brief meeting with Kleist, Joyce and her crew stay at the facility for a few days. Although Joyce is happy to meet her occasional lover, Hank, she soon starts hearing news of mysterious deaths and disappearances amongst the facility’s crew and decides to investigate…..

One of the first things that I will say about this novel is that, whilst it isn’t anything particularly new, it’s a hell of a lot of fun to read ๐Ÿ™‚ Although the basic premise (an alien-filled research facility run by a mad scientist) is pretty much identical to S.D.Perry’s “Aliens: The Labyrinth“, the novel does a few interesting things with this premise.

This novel is as much of an action-thriller novel as a sci-fi horror novel, with the general tone and atmosphere of the novel reminding me a lot of the original “Red Faction” computer game.

In addition to lots of desolate mining tunnels, a lot of the novel focuses on several groups of characters (both civilian and military) who start a resistance movement against Kleist and his henchmen. So, in a lot of ways, this is also a dystopian novel too ๐Ÿ™‚ Yes, the “plucky band of rebels” thing is a well-worn sci-fi/fantasy trope, but it’s handled in a really thrilling way in this novel, which will really have you cheering for the rebels.

Seriously, although it contains nothing especially new, this novel is the perfect blend of dystopian sci-fi, thrilling action and macabre horror fiction ๐Ÿ™‚ Reading this novel is like watching a really fun late-night 1980s/90s B-movie, like “Fortress” or something like that.

As for the horror elements of this novel, they’re pretty good. Although this novel isn’t that scary, it certainly has a rather ominous claustrophobic atmosphere, in addition to lots of grisly moments of gory horror, creepy alien-based moments (including a giant genetically-engineered alien king) and plenty of scenes featuring Kleist’s evil experiments too. These horror elements complement the novel’s action-thriller elements really well and not only add more atmosphere and tension to the story, but also give it a bit more depth by allowing for more moments of human drama too.

As for characterisation, this novel is reasonably decent, with several of the civilian and military characters receiving enough backstory and emotional moments to make you care about what happens to them. Likewise, the space marines are also shown to be an efficient, courageous and resourceful team too. However, the evil Professor Kleist and his security guard henchmen don’t really get much in the way of backstory and mostly just come across as cheesy, melodramatic “villain” characters (which is kind of fun in a “corny B-movie” kind of way, though).

In terms of the writing in this novel, it’s reasonably good. This novel’s third-person narration is descriptive enough to be atmospheric whilst also being “matter of fact” enough to not only keep the story moving at a decent pace, but also to make it reasonably relaxing to read too. Even so, in the edition I read, the editor missed a few basic mistakes (eg: misspelling Cray’s name as “Clay” once, spelling “gel” as “jell” once etc..) to the point where these errors actually became noticeable.

In terms of length and pacing, this novel is reasonably good. In addition to being a fairly efficient 288 pages long, the pacing in this novel is fairly good. It starts off in a suitably ominous way before gradually building into a more traditional thriller (where chapters jump between two or three groups of characters, with lots of mini cliffhangers etc..) which remains fairly gripping throughout.

As for how this twenty-three year old novel has aged, it’s aged really well. Although the story has a fairly “1990s late-night TV” kind of atmosphere during a few moments, this just adds to the story’s enjoyably fun “cheesy B-movie” quality. But, like with S.D.Perry’s “Aliens: The Labyrinth”, this novel is pretty timeless thanks to it’s distant-future setting (which still comes across as reasonably futuristic).

All in all, whilst this novel doesn’t really do anything new, it is still a lot of fun to read. So, if you want to relax with the literary equivalent of a great late-night movie from the 1990s, then this novel is well worth checking out. Likewise, if you want a dystopian sci-fi horror thriller novel, then this is definitely one of the more enjoyable ones.

If I had to give it a rating out of five, it would get at least a four.

The Complete “Damania Retracted” – All Four ‘Episodes’ Of The New Webcomic Mini Series By C. A. Brown

Well, in case you missed any of it, here are all four comics from my “Damania Retracted” webcomic mini series in one easy to read post. You can also find lots of other comics featuring these characters on this page.

And, yes, due to being somewhat busy when I was preparing these comics, this mini series ended up being a bit rushed and I didn’t really have that much planning time. This probably explains why some of the comics are “topical” comics based on stuff that happened last year (eg: Eurovision 2018 and this thing).

Likewise, due to scheduling reasons, the “making of” line art post for this mini series probably won’t appear here until the 25th April (rather than the 24th).


Note: The first comic update in this mini series (“Eurovision 2018”) is NOT released under any kind of Creative Commons licence. However, the other three comics (“Pretty Tedious”, “Internet” and “Shibboleth”) ARE released under a Creative Commons BY-NC-ND licence.

“Damania Retracted – Eurovision 2018” By C. A. Brown [Note: this comic update is not released under any kind of Creative Commons licence].

“Damania Retracted – Pretty Tedious” By C. A. Brown

“Damania Retracted – Internet” By C. A. Brown

“Damania Retracted – Shibboleth” By C. A. Brown

Today’s Art (23rd April 2019)

Well, here’s the fourth (and final) comic in my “Damania Retracted” webcomic mini series. Don’t worry if you missed any of it, I’ll post a full retrospective here later tonight (although the line art post probably won’t appear until the 25th April, due to scheduling reasons). In the meantime, you can find lots of other comics featuring these characters here.

And, yes, due to making these comics quite far in advance and the fact that I didn’t really have time to plan this comic, it ended up being about this thing from last year.

As usual, this comic update is released under a Creative Commons BY-NC-ND licence.

[CLICK FOR LARGER IMAGE] “Damania Retracted – Shibboleth” By C. A. Brown

Three Tips For Writing Reassuring Horror Fiction

Well, I recently ended up thinking about the topic of reassuring horror fiction recently. And, yes, I know that this sounds like a contradiction in terms – but, horror fiction can be reassuring.

A day or so before I wrote this article, I was stressed out by various things and I also realised that I had to start reading another novel if I wanted to post a review here tomorrow. I’d planned to read a more high-brow novel, but I just didn’t feel in the mood for it.

So, I started reading a sci-fi horror novel (“Aliens: Rogue” by Sandy Schofield) instead. This was the kind of cheesy horror novel I used to read all the time when I was a teenager and it just felt reassuring to be reading this type of fiction again. Like watching a favourite old film or playing an old computer game you really love.

So, I thought that I’d offer a few tips for writing reassuring horror fiction because, yes, horror fiction can be reassuring. So, let’s get started:

1) Unrealistic horror: One of the first ways to write reassuring horror is to make sure that the horrors in your story are clearly unrealistic.

Whether they’re zombies, monsters, vampires etc… the trick here is to come up with a story that will be grippingly suspenseful but, when it is over, your audience will have no reason to keep feeling afraid. This helps your audience to feel tough and fearless and, as such, will make your story feel considerably more reassuring.

And, yes, familiarity helps a lot here too. A classic cinematic example of this is the first “Nightmare On Elm Street” movie. The film itself contains some inventively macabre moments and some nail-biting suspense, but the horror doesn’t linger afterwards for the simple reason that Freddy Krueger is such a pop culture icon. He’s an over-the-top, fantastical monster who is conceptually scary (eg: the idea of a monster who haunts people’s dreams) but, because he’s so well-known, he isn’t likely to shock or disturb the audience too much.

A good literary example is probably Clive Barker’s “The Scarlet Gospels“. This novel is an incredibly gruesome, fast-paced horror thriller – but it isn’t really that scary for the simple reason that the novel’s main villain is such a well-known horror monster (after all, Clive Barker created the “Hellraiser” franchise). So, the reader gets to experience a grisly trip to hell and back without feeling too scared because, chances are, they’ve already seen at least one or two of the “Hellraiser” films and know what to expect.

But, of course, if you’re writing your own horror fiction, then you’ll either have to come up with your own horror monsters (make them witty, over-the-top, slightly silly etc..) or use popular types of monsters that aren’t copyrighted (eg: vampires, werewolves, zombies etc…).

2) Tough protagonists: Real, frightening horror is all about vulnerability. It’s about being alone at night and hearing something approaching. It’s about finding yourself out of your depth. It’s about bleakness, hopelessness and sorrow. It’s about facing certain and inevitable death. All of this stuff is, as you might have guessed, not particularly reassuring.

So, a good way to make your horror fiction a bit more reassuring is to give your protagonists the means and skills to confidently fight back against the horror.

For example, I recently read a novel called “Patient Zero” by Jonathan Maberry. It’s a military action-thriller novel with zombies in it. It was quite a lot of fun to read, but not particularly scary for the simple reason that – even when the main character is unarmed – he’s a well-trained soldier with lots of martial arts experience. As such, whilst the novel is certainly gruesome and suspenseful, you get all of the drama of a horror novel without any of the lingering unease or fear.

The best examples of this sort of thing can, of course, be found in computer and video games. For example, the reason why horror-themed first-person shooter games like “Doom II“, “Left 4 Dead 2“, “Quake” etc.. aren’t very scary is because you’re usually playing as either a well-armed soldier or part of an expert team.

By contrast, a game like “Silent Hill 3” is about fifty times more terrifying for the simple reason that your character is a lone teenager who isn’t very good with weapons (and the game’s combat system is deliberately slow and imprecise to reflect this fact).

So, if your main character is tough and has the means to confidently fight back against the horrors they encounter, then your horror story will be a lot more reassuring.

3) Gory horror: This might sound counter-intuitive but, just because you’re writing a reassuring horror story, don’t be afraid to make it really gruesome. There are a couple of reasons for this.

First of all, gruesome horror is only scary when it also includes other forms of horror too. So, if you don’t include those, then you can make your story as gory as you want whilst also making your audience feel brave and tough because they aren’t feeling too scared by it.

For example, compare the films “Shaun Of The Dead” and “Saw III” – both films contain buckets of stage blood, but “Shaun Of The Dead” is a comedy about zombies. It’s gory, but it isn’t frightening because there are no other types of horror present.

On the other hand, “Saw III” is a scary, shocking, disturbing and unsettling film (people actually fainted when it was shown in cinemas) for the simple reason that all of the film’s gory scenes are accompanied by “realistic” examples of several other types of horror – such as vulnerability, cruelty/sadism, hopelessness, certain death, psychological horror etc….

Secondly, over-the-top gory horror isn’t inherently scary if it is presented in a clearly unrealistic context. In essence, the less likely something is to actually happen in real life, the less genuinely frightening it will be (and the more “fearless” your audience will feel whilst reading it).

This is why, for example, an ultra-gruesome zombie apocalypse novel probably won’t be very scary, but something like a short description of realistic horrors (eg: warfare, disease, violent crimes, natural disasters etc..) will be disturbing. So, if your horror story takes place in an unrealistic context, then you can make it as gruesome as you want without disturbing your audience too much.

So, yes, reassuring horror doesn’t have to mean sanitised horror.

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Anyway, I hope that this was useful ๐Ÿ™‚