Three Basic Tips For Coming Up With Good Settings In The Horror Genre

Well, I thought that I’d talk about storytelling, settings and the horror genre today. This is mostly because I happened to re-watch an absolutely amazing horror movie recently, where a large proportion of the film’s scares come from the location that the film is set in. This reminded me of how important settings and locations can be in the horror genre.

So, I thought that I’d offer some basic tips for coming up with good settings for your horror novel, comic etc….

1) Isolation: I’ll start with the really obvious one. One easy way to make the settings in a horror story even scarier is to ensure that the main characters are cut off from the world, and therefore have to rely on their own wits to survive.

When setting horror stories in the present day, it’s also usually obligatory to point out that the setting in question has no mobile phone reception (in fact, this has been done in horror movies for almost two decades. See the 1999 remake of “House On Haunted Hill” for an older example).

By setting your horror story somewhere isolated, you not only increase the level of danger that the characters face but you also give your story an instant sense of direction and suspense too, since the characters have to find a way to either summon help or escape the location in question.

And, yes, the horror genre is one of the few genres where running away from danger is actually realistically presented as a sensible and heroic thing to do.

2) Symbolism and/or history: The best and most memorable settings in the horror genre are not only eerily mysterious (so that the characters, and audience, don’t know what to expect) but they will often reflect a deeper symbolic and/or historical horror in some way or another.

For example, the classic horror videogame “Silent Hill 2” (major plot SPOILERS ahead!) is set in an abandoned, fog-covered town that is filled with monsters. Every now and then, an air raid siren will sound and then the town will transform itself into a much creepier version of itself – with rusty walls, gloomier lighting and even creepier monsters. These monsters include things like a giant executioner-like character called “Pyramid Head” and creepy undead nurses.

In addition to this, there are lots of other creepy, but meaningful, details scattered throughout the town – such as an abandoned shop that contains creepy graffiti on the inside of the papered-up windows (which changes, depending on when you read it) or a mannequin that is dressed like the main character’s late wife.

All of these details might initially seem like they are just there to scare the audience, but they hold a deeper meaning for the game’s main character – they are all symbolic reflections of his own feelings of guilt about ending the life of his terminally-ill wife. For example, the undead nurses symbolise (amongst other things) hospitals and illness, Pyramid Head’s executioner-like appearance symbolises the main character’s judgment of himself, the evil version of the world represents the main character’s tormented psyche etc…

But, even if the setting of a horror story isn’t a direct reflection of the main characters, it is still important to include some kind of deeper horror too. Going back to the 1999 remake of “House On Haunted Hill”, a lot of the film’s horror comes from the fact that the film takes place in a derelict mental hospital that was run by a cruel doctor during the 1930s.

So, the additional horrors inherent in this setting include things like torture, outdated attitudes, psychological suffering etc…. Which are reflected in many of the locations within the hospital (eg: rooms containing scary-looking medical equipment that has been left to rust etc..).

The easiest way to add a deeper horror to the settings in a horror story is simply to give the location in question a creepy history. However, this alone isn’t enough. The design, style and notable features of the location must also be some kind of symbolic reflection (the more subtle, the better) of this horrifying history.

3) Unreliable locations: Another way to come up with terrifying locations for horror stories is simply to make the location itself a creepily unpredictable thing. If the main characters don’t know what to expect, or cannot even trust reality itself – then this will make the audience feel even more nervous.

The classic horror movie example of this is in “A Nightmare On Elm Street“, where almost all of the film’s horrific events take place within the main characters’ dreams. Not only does this setting give the horror a sense of chilling inevitability (since no-one can stay awake forever), but the focus on dream-like settings also means that the audience never quite knows what to expect. After all, literally anything can happen in a dream….

Likewise, a good comics-based example of this is Raven Gregory’s “Return To Wonderland”. This is an extremely disturbing (and grisly) horror comic that is based on ‘Alice In Wonderland’ (and is even creepier than a classic computer game with a vaguely similar premise called “American McGee’s Alice).

Since the main character in “Return To Wonderland” is plonked into an evil version of a familiar fictional location (Wonderland) – this comic’s setting also plays on the reader’s expectations too. Because the readers think that they know what to expect, they soon discover that can’t even trust their own memories of ‘Alice In Wonderland’ when horrific things start happening. So, the story is a lot less predictable, and a lot scarier, as a result.

So, the less predictable a location is, the creepier it will be. If the main characters cannot even trust the world around them, then your story or comic will be a lot scarier.

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Anyway, I hope that this was useful 🙂

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Two Basic Tips To Avoid Making “Bloated” Creative Works

Although this is an article about making art, making comics and writing fiction, I’m going to have to start by talking about computer games briefly. As usual, there’s a (vaguely) good reason for this that I hope becomes obvious later.

The day before I wrote this article, I ended up buying a modern re-release of a classic computer game (Quake), since it contained a couple of extra level packs that I didn’t own. But, I was genuinely shocked at how much larger the system requirements and file sizes were when compared to the original mid-1990s version of “Quake”. Although there are probably good reasons for this, when compared to the lean system requirements and file size of the original game, the modern re-release just seemed bloated.

This then made me think about how to avoid the same type of problem when it comes to making things like art, comics and writing. So, here are two basic tips:

1) File formats: One way to save memory, reduce loading times etc.. is simply to do some research into file formats. When saving digital copies of your work, choose the file format that works best for the practical purposes that you want to use it for.

For example, if you’re an artist or a photographer, then saving your images in a file format that includes less compression is probably only useful if you plan to make professional prints of them, or use them in professional settings. Likewise, if you’re making digital art, then keeping a higher-quality copy (since you don’t have a physical original) can also be very useful too.

But, if you’re just posting them on your website, posting them on social media, attaching them to an e-mail etc… then making a copy of the images that uses a more compressed file format (such as “.jpg”) will probably be much better. Yes, there will be a very slight loss in image quality (which will probably only be noticeable if you look very closely at the image), but the smaller file sizes are much more suitable for these practical purposes.

Likewise, some image editing programs – such as an open-source one called “GIMP” – even let you control the level of image compression when you save a file as a “.jpg”. But, MAKE A BACKUP COPY before you start experimenting with things like this. I cannot emphasise this enough!

These are the JPEG compression options in “GIMP 2.6” that appear when you save a file as a “.jpg”. You can change the level of compression by moving the “quality” slider.

As for writing – when writing drafts of these daily articles, I always save them as “.rtf” files. Since they don’t really include any seriously fancy formatting, this simpler file format keeps the file sizes a bit smaller and also means that, if I ever decide to use a different text editor, then all of my drafts will be compatible with it (since “.rtf” seems to be compatible with almost everything – unlike, say, formats like “.docx”).

So, do some research into file formats and choose one that works well for the practical purposes you’ll be using it for.

2) Planning and limitations: One of the best ways to stop art and comic from gobbling up too much time and effort when you are actually making them is simply to either plan it in advance or set yourself some limitations when you are actually making it.

For example, when I’m making my daily paintings, I almost always make sure that the paintings are the same size (18 x 18 cm, if anyone is curious). This small size means that, regardless of how detailed my art happens to be on a particular day, it’ll only take me 1-3 hours to fill an area of that size with art.

Likewise, when I’m making webcomics, I almost always try to plan them out in advance. I also usually set myself an informal limit for how long each comic will be (eg: most of my current webcomic mini series tend to be six comic updates in length). This stops my comic projects turning into bloated, unfocused open-ended things. The additional planning also allows me to refine the dialogue, panel layouts etc.. at an early stage, whilst also ensuring that I won’t be troubled by writer’s block when I’m actually making the comics too.

With prose fiction, the best way to reduce bloatedness is – of course- editing your fiction after you’ve written it. But, setting yourself an informal word limit or making some basic plans when you’re writing short stories etc.. can sometimes be a good way to keep the narrative focused in your first drafts.

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Anyway, I hope that this was useful 🙂

Four Ways To Make Your Audience Feel Like Rebels

The night before I wrote this article, I ended up thinking about what several of my favourite creative works have in common with each other and the answer was “they make the audience feel like they’re rebelling“.

They’re the kind of things that don’t necessarily aim for shock value, but which just feel “rebellious” when seen, heard, played or read.

So, I thought that I’d look at a few ways that you can do this in your own creative works:

1) The journey, not the destination: A lot of what makes the audience feel like rebels isn’t the content of a work, but how that content is presented to them. In other words, things like your narrative voice, the background details in your art, the art style you use, the emotional tone of your song lyrics etc… matter a lot more than you might think.

In other words, rebellious creative works are more about the “journey” than the “destination”. They’re about the audience having the chance to experience hanging out with a really cool narrator, character, musician, fictional world etc.. than they are about telling a good story.

For example, the actual stories in Hewlett & Martin’s “Tank Girl” comics are bizarrely nonsensical things which, if they were written in a more “serious” way, wouldn’t be that good. Yet, these comics are so compellingly, rebelliously re-readable because of the eccentric characters, the anarchic “attitude” that these stories have, the hilariously puerile comedy and the gloriously detailed and unique art style:

This is an excerpt from “Tank Girl 2” (1996) by Hewlett & Martin. As you can see, it uses a very vivid and distinctive art style and contains some fairly unique characters. Even though the actual “story” of this comic makes literally no sense whatsoever, the comic is still very “rebellious” due to it’s attitude, characters and humour.

So, the journey matters more than the destination.

2) Intelligent writing/visuals: Likewise, just because you want your audience to feel like “rebels” doesn’t mean that you should write badly, draw badly etc.. If anything, having a very good command of the intricacies of language and art can actually make a work seem more rebellious since it gives the audience the impression that they’re hanging out with someone cool, intelligent and/or interesting.

For example, here’s a quote from Hunter S. Thompson’s “Fear And Loathing In Las Vegas” (1971-2): ‘It was treacherous, stupid and demented in every way – but there was no avoiding the stench of twisted humour that hovered around the idea of a gonzo journalist in the grip of a potentially terminal drug episode being invited to cover the National District Attorney’s Conference on Narcotics and Dangerous Drugs.

Although the novel that this quote is taken from is a wildly bizarre, satirical, countercultural classic – this quote actually uses rather formal and almost “literary” language. Although this is a novel with a drug-addled narrator, the prose here has the kind of clarity which only comes from carefully-crafted, sober writing. So, craftsmanship matters a lot more than you might think.

Likewise, using copious amounts of profanity won’t automatically make your audience feel like “rebels”. Using a measured amount of profanity in a carefully-chosen, clever and funny way – on the other hand – will. So, be funny, sparing, creative and intelligent with the profanity in your creative works.

3) Politics: Strange as it may sound, don’t get too political. Or, rather, don’t be too “serious” when you inevitably get political.

The best rebellious creative works have fun with politics. Regardless of which side of the political spectrum they land on, they actively attack pompous over-seriousness and self-righteousness. They often also have a very slightly “apolitical” quality too by actively ridiculing both “sides” of a political issue through showing what unpleasant features they have in common with each other.

But, when rebellious creative works include politics, they will often just quietly lead by example.

For example, they’ll just show characters who are typically sneered at by mainstream society in a more positive light. They’ll show authority figures as being stupid, hypocritical and/or malevolent. Or they might just show characters gleefully breaking petty, stupid and/or unjust rules, without anyone raising an eyebrow (or, conversely, show people over-reacting to said transgressions in a hilariously exaggerated way that highlights the ridiculousness of the rule in question).

4) Emotional satisfaction: In short, the best way to make your audience feel like rebels is to give them something. Whether it is acceptance, belonging, laughter, a different worldview etc… you need to give them something.

Because, despite all of the technical stuff I’ve mentioned, making your audience feel like rebels is an emotional thing. It’s the feeling of “wow” that comes from seeing something that is so different in perspective and tone from mainstream entertainment. It’s the feeling of “Wow! I didn’t know how to put that into words” that your audience get from something incredibly profound that they wouldn’t find in mainstream culture.

A great example of this type of rebellious emotional satisfaction can be found in an astonishingly good webcomic called “Subnormality” by Winston Rowntree. Often, these comics will make some kind of point or express some facet of the human condition that isn’t often explored in mainstream creative works. And, Rowntree’s comics are some of the most emotionally-profound, but rebellious, things that you’ll ever read as a result:

This is an excerpt from “Duel” (‘Subnormality #219) By Winston Rowntree (2014), which contains an example of the kind of profound, emotional introspection that makes this comic surprisingly “rebellious” when compared to more mainstream offerings.

So, yes, give your audience something. Whether you make them laugh, make them think, make them feel better or even make them see the world differently, give them something.

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Anyway, I hope that this was useful 🙂

Three More Tips For 1990s-Style Storytelling

Well, it’s been a while since I last wrote about the 1990s. So, I thought that I’d take another look at 1990s-style storytelling today. This is partly because I read a novel set in the 1990s recently and partly because I’ve been thinking about this topic slightly more than usual.

Although I wrote some short stories set in mid-late 1990s Britain and made a “time travel” comic set in early-mid 1990s California last year (and wrote two short stories set in mid-1990s America earlier this year – which can be read here and here), the 1990s is a notoriously difficult decade to tell any kind of stories about. This is, in part, because it’s still a relatively recent decade – so, there’s marginally less popular history and nostalgia about it out there for writers and comic makers to draw on.

So, how can you tell stories set in the 1990s?

1) Early or late 90s?: Generally speaking, the “type” of 1990s setting you want to use depends a lot on which part of the decade your story is set in.

This also varies somewhat from country to country too, but I don’t have time to go into the subtleties of this too much here (and I’ll just be focusing on Britain and America – since I’m British [and grew up in the 1990s/early-mid 2000s] and because I’ve watched a fair number of movies and TV shows from 1990s America).

But, for the early-mid 1990s (especially in America), try to make everything a little bit more “retro”. After all, the 1980s had finished a few years earlier and a lot of trends from that time were still lingering around during the early-mid 1990s.

However, since the decade was starting to come into it’s own, these trends were a bit more subtle, gloomy and understated than in the 80s. So, if you’re including an early-mid 1990s setting, go for a somewhat more “understated”/”gloomy” version of the 1980s.

For the mid-late 1990s (especially in Britain), make everything a bit more “modern”, but in an understated way. For example, compared to the late 1980s/early 1990s, mid-late 1990s fashions were even gloomier and more understated/generic – but also very recognisable as “modern” too.

The main difference between mid-late 1990s settings and the present day is probably the technology. So, just include a few VHS tapes, CD-ROMs, CRT televisions/computer monitors and maybe some very basic “small” mobile phones and your setting will instantly be more “late 90s”.

But, regardless of which part of the 90s your story or comic is set in, try to make your 1990s location designs fairly “ordinary”. After all, buildings don’t change that much over the years. However, if you want to include some more stylised 1990s-style interior design in your comic or novel, go for things like geometric patterns, gloomy lighting, more bookshelves etc… Kind of like in this stylised mid-late 1990s-style painting of mine from last year:

“1990s Office Awesomeness” By C. A. Brown

2) Tell an “ordinary” story: The 1990s is in that weird twilight zone between “retro” and “recent”. As such, it can sometimes be a good idea to make your story fairly “ordinary” (with relatively little “90s nostalgia”) if you’re trying to tell a more dramatic or serious story.

A good example of this can be found in a modern thriller novel (published in 2016, but set in 1996) that I read recently called “Night School” by Lee Child. If it wasn’t for a few references to the Millennium Bug and the fall of the Berlin Wall, then the story could almost be set in the present day. In fact, I got about halfway through the novel before I even noticed that none of the characters were using mobile phones. So, yes, just telling an “ordinary” story (with a few subtle differences) can be a good way to tell a story set in the 90s.

The thing to remember when telling a “serious” story set in the 1990s is that, to the characters, the setting is just ‘ordinary’. It’s just the ordinary, mundane, everyday world. And, aside from a few technological, social and political changes, it isn’t that different from the modern world. So, just try to tell an ordinary modern story with a few subtle changes to the technology, politics, trends etc…

3) Culture and politics: I’ve talked about this before but, in general (more so in Britain than America), the 1990s was also a little bit more of a laid-back and cheerful decade than the present day.

In America, this often manifested itself as a sense of optimism about the future. After all, the Cold War was over and 9/11 hadn’t happened yet – so, the future actually looked fairly bright. Seriously, even the cynical punk music and stand-up comedy of the time often sounds joyously innocent compared to the present day. So, try to reflect this in any stories, comics etc.. set in 1990s America.

In Britain, this often manifested itself in a much more hedonistic way. So, if you’re setting your story or comic in 1990s Britain, don’t do the typical “1990s American TV show” thing of making all of your main characters teetotal, celibate, non-smoking, salad-eating gym members! If you don’t believe me on this point, just watch a few classic ’90s sitcoms like “Absolutely Fabulous“, “Spaced“, “Men Behaving Badly” or “Bottom“.

Likewise, politics in the 1990s were a bit less polarised than modern politics. So, if you’re including politics in your 90s-style story or comic, then try to be a bit more subtle and nuanced about it.

Remember, you are writing about a world where things like Twitter thankfully didn’t exist. You are writing about a world where strong political opinions – of all kinds – were more likely to be laughed at than taken seriously. You are writing about a world where politicians, on both the left and the right, at least tried to appear more moderate. You are writing about a world where it was more ok to be “liberal about this, but conservative about that” etc… In short, you are writing about a very different age to our current one.

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Anyway, I hope that this was useful 🙂

Three Things To Do With Failed Webcomic Update Ideas/Plans

Well, since I’m still busy preparing a webcomic mini series for later this month, I thought that I’d write another webcomic-related article. In particular, I’ll be talking about what to do with the comic ideas that you don’t end up using. I’m sure I’ve talked about this topic before, but it seemed like it was worth repeating.

Needless to say, it’s incredibly useful to actually note these ideas down (or, even better, sketch them). And, for the purposes of this article, I’m going to assume that you’ve done this.

1) Make them (when you’re uninspired): A while before writing this article, I had to prepare a comic update for later this month. However, since this mini series seems to be one of my less-inspired ones, I was having trouble coming up with an idea.

Fortunately, since I ended up planning more comics than I actually made during my previous mini series, I was able to directly re-use an idea that I’d rejected whilst planning that webcomic. Although it certainly isn’t the best comic update in the world, it at least allowed me to make a comic update. And, if you’re making a webcomic, then actually making the updates is the most important part.

Here’s a preview of the comic update in question:

The full comic update will be posted here on the 25th May.

Another cool thing about recycling old ideas is that, if you point out that you’re doing this, then you can kind of turn it into a “deleted scenes” kind of thing. After all, it’s always interesting to see things that could have appeared earlier. So, as well as being a quick way to actually make a comic update when you’re uninspired, it can also be a way to give your audience a glimpse “behind the scenes”.

2) Use the basic idea: Whilst writing this article, I took another look at my preparatory notes and plans for my previous mini series and, to my surprise, I noticed an abandoned plan that was very mildly similar (in terms of structure, set up etc..) to one of the comics in my upcoming mini series.

[CLICK FOR LARGER IMAGE] This mostly-planned comic update was going to be part of “Damania Regression”, but I ended up abandoning it in favour of another gaming-related comic idea.

Yet, the comic in my upcoming mini series has absolutely nothing to do with old computer games. Yet, by remembering the basic idea behind this comic (albeit subconsciously), I was able to rework it into something a bit more sophisticated and amusing. Not only that, I could also take inspiration from other sources too.

So, if a planned comic update doesn’t work out, then you can always return to the basic idea behind it and find a new way to use it.

3) Work out where they went wrong: One other useful thing about failed comic update plans is that they can help you to improve your webcomic. Normally, if an idea fails, then there’s usually a reason for it. If you can work out what that reason is, then this will help you to make better comics.

For example, when planning the next update in the upcoming mini series, I was determined to make an update about the band Cradle Of Filth (since I’ve been geeking out about them a bit recently). Yet, every time I tried to plan a comic update about this, it seemed like I was either re-hashing tired old tropes about heavy metal music or making something that looked more like an advert for the band.

I was only able to think of a decent comic idea after I realised that this idea was too narrowly-focused. Instead, I took a step back and, after remembering something that happened earlier that day, I was able to come up with a more generalised comic idea about musical nostalgia and technology.

So, yes, asking yourself why an abandoned webcomic update plan failed can be a good way to come up with better comic ideas.

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Anyway, I hope that this was useful 🙂

Not Every Webcomic Update Will Be Stellar… And That’s Ok – A Ramble

Well, since I’m busy making next month’s webcomic mini series at the time of writing, I thought that I’d talk about quality variations in webcomics today.

This is mostly because, although the second update in the upcoming mini series certainly isn’t a “bad” comic update, it didn’t end up being quite as funny or artistically detailed as the previous comic update was. Here’s a preview of it:

The full comic update will be posted here on the 23rd May.

Even if you only make webcomic updates occasionally, you’ll probably run into this problem too. Sometimes, the only good idea for a webcomic update isn’t quite as good as the idea you had last time. Of course, in these situations, the only sensible thing to do is to… make the comic update anyway.

Yes, you heard me correctly. Make the comic update.

As counter-intuitive as it sounds, a mediocre finished webcomic update is still better than a hypothetical “great” webcomic update that you haven’t made. For starters, it means that your audience gets to see something. Even if they aren’t impressed by the comic update, they can at least feel reassured by the fact that you’re still making comics (and sticking to your schedule).

Secondly, you are almost certainly your own worst critic. If you’ve been making webcomics for a while, then even one of your “bad” comic updates might still be considered acceptable or even good by the standards of other people. If you haven’t been making webcomics for long, then you need the practice – so make the update and post it for your own sake. Remember, even the best webcomics weren’t as good during their early days.

Thirdly, even if you only publish six comic updates a month (which seems to be my thing at the moment), you’ve still got to make multiple comic updates within a relatively short period of time. This is especially true if you want to make a long-running webcomic.

You’ve got to come up with comic ideas on a regular basis and, as such, there are inevitably going to be slight dips in quality occasionally. No-one’s imagination runs at 100% efficiency all of the time. Your audience probably understands this too and are more forgiving then you think. At the very least, if you stick to your update schedule then this means that they won’t have to wait that long for the next comic update (which might be better).

Fourthly, a mediocre webcomic update can be more inspirational than you think. After all, if there are any aspiring webcomic creators in your audience, then they are probably going to see the mediocre comic update and either think “I can do better than that! I’ll finally start my own webcomic!” or “Whew! I’m not the only one who has off days with my comic sometimes!“. So posting a mediocre comic update might actually help out other people.

Finally, and most importantly, if you care about the fact that your latest comic update isn’t as good as the one you made before it, then this means that you care about making webcomics. It means that webcomics still matter to you. It means that you still feel motivated to make webcomics. It means that you aren’t giving up in frustration or anything like that. It means that you want to make better webcomic updates. And this is a good thing!

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Sorry for the short article, but I hope it was useful 🙂

Four Basic Tips For Finding A Distinctive Comedy Style For Your Webcomic

Well, at the time of writing, I’m busy making next month’s webcomic mini series. Anyway, one of the things that I sometimes worry about before starting a collection of comic updates is that I don’t have my own distinctive style of humour. Then again, everyone probably does this.

Still, if you’ve seen a lot of other things in the comedy genre, it can be easy to think that everyone else has their own unique “style” of humour and you don’t. Again, this isn’t true. But, here are a few ways that you can rediscover your own unique style of humour.

1) Your favourite comedy: This is a fairly obvious one, but look at all of your favourite things in the comedy genre. All of the things that really make you crease up with laughter. Your own style of humour is a mixture of all of the types of humour found in these things.

If you’re not sure about the humour type of your favourite things in the comedy genre, just read or watch as much of them as possible. You’ll soon start to notice patterns, styles of jokes etc… Yes, most good things in the comedy genre will contain a mixture of different types of humour, but there will often be one or two that stand out more than the others.

These types of humour might include things like character-based humour, “shock value” humour, political/social satire, parodies, cynicism, slapstick humour, clever wordplay, subverted expectations, amusing narration, old things in modern settings etc…

The trick here, of course, isn’t to directly copy any one thing – but to try to find the types of jokes that you want to tell. Once you’ve found a few types of humour that you really like, then come up with your own jokes that use this style and include them in your webcomic. The thing to remember is that distinctive comedy styles come from a unique mixture of pre-existing types of humour.

2) Don’t be afraid to experiment: One of the reasons why I sometimes worry that I don’t have my own “style” of humour is that I tend to experiment with different types of humour from time to time. For example, this comic update of mine combines cynical humour with more philosophical elements:

“Damania Reflection – Mind, Body & Spirit” By C. A. Brown

Whereas, this comic update of mine is more like something from a gaming webcomic:

“Damania Regression – Community” By C. A. Brown

I could go on for a while, but part of finding your own “style” of humour is experimenting with lots of different types of humour. And this usually involves taking inspiration from lots of different things along the way. So, if your humour changes every month or two, then it just means that you’re adding more stuff to your repertoire. It means that you are improving or refining your own unique style of humour. It’s a good thing!

3) Look back: If you’ve been making webcomics for a while and you’re still worrying that you don’t have a unique type of humour, then just look back at some or all of the comics that you’ve made in the past.

When you look at comic updates that you haven’t seen in a while, you’ll probably have a slightly more distanced perspective. And there’s a good chance that you’ll start to notice at least some hints of your own distinctive style of humour lurking in there too. And, since you made these comic updates in the past, it means that you already have a unique style of humour. You just needed a reminder.

4) Your perspective: I’m usually sceptical about people who tell you to “write from experience”, since they’re often the kind of annoyingly extroverted people who seem to think that everyone else should be just like them. No, a much better piece of advice is to “write from your own perspective”.

I don’t mean that you should make your webcomic autobiographical, but that you should take a look at the way that you think about the world.

Take a look at the topics and ideas that interest you. Take a look at anything you’ve seen or read recently that had some kind of emotional or intellectual impact on you. Take a look at your dreams and daydreams.

Once you’ve thought about these things, try to find a way to make them (or things like them) funny. This will instantly give your comedy a certain level of personality and uniqueness.

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Anyway, I hope that this was useful 🙂