Can Art And Webcomics Have Secondary Fandoms?


Well, I thought that I’d talk about “secondary fandoms” today. This is the best term I can come up with to describe that bizarre experience where you find something really cool, that is a tiny part of something else (that you may or may not interested in).

For example, I’m not really a huge fan of the modern role-playing genre of computer games and my computer is probably considered “vintage” these days. So, I’m probably not going to play “Skyrim” and yet, thanks to numerous cover versions that I’ve heard on Youtube, I think that it’s theme tune is one of the most epic pieces of music ever invented. Even though I absolutely love the theme tune, I can’t exactly call myself a “Skyrim” fan. Hence, “secondary fandom”.

Although secondary fandoms don’t always lead to people joining the “main” fandom for something, they can certainly be a useful tool for building a fandom.

For example, I initially got vaguely interested in “Game Of Thrones” after I saw a really cool Youtube video of someone playing the show’s epic theme song using eight modified floppy disk drives as an instrument. When a relative later recommended the books to me and lent me one of them, I was curious enough to read the first hundred pages. Then I ended up watching some of the TV show, which got me interested in the books again, which got me interested in the TV show again etc… But, this may or may not have happened if I hadn’t heard a version of the show’s impressive theme tune on Youtube first.

But, it’s probably quite telling that the two examples that I’ve given have been computer games and TV shows. After all, due to the complex nature of these mediums, they’re going to contain many additional elements that can draw in a secondary fandom. After all, they also contain music, art (even if it’s just cover/ poster art), architecture/set design, costume design, catchphrases etc…

However, art and webcomics contain far fewer different elements. With comics, you’ve just got text and art. With art, you just have art. So, can these things actually have secondary fandoms?

In a word, yes. Although it’s probably more difficult than it is with things like TV shows and computer games.

With webcomics, you can probably gain a secondary fandom by producing interesting-looking stand-alone drawings or paintings of your characters. If this art looks like the kind of thing that people would want to use as a desktop background, the kind of thing that people would want to use as an online avatar etc… then there’s a good chance that you’ll gain a secondary fandom.

With art, the only real way to gain a secondary fandom is if your art appears in other contexts, or if one or two pieces of your art become more famous than the rest.

For example, I’ve been a massive fan of a band called Iron Maiden for at least a decade (after hearing one of their songs in a slightly old computer game when I was a teenager). Anyway, one thing that I loved about the band when I first discovered it was how cool all of the cover artwork for their old albums looked.

In fact, I even ended up accumulating quite a few Iron Maiden T-shirts purely because of the coolness of both the art and the band. However, it was only relatively recently that I learnt that all of the “classic” Iron Maiden artwork was made by an artist called Derek Riggs. I’d spent years being a fan of an artist whose name I didn’t even know!

Likewise, literally everyone knows what the Mona Lisa looks like. It’s widely considered to be one of the best and most valuable paintings ever made. And, yet, very few people can probably name or remember too many more of Leonardo Da Vinci’s paintings or drawings (except possibly The Last Supper and/or the Vitruvian Man). Although the Mona Lisa is just one of many pieces of art that Da Vinci made, it has a level of appeal and popularity which means that it’s audience consists of more than just Renaissance art experts.

So, yes, art and webcomics can gain a secondary fandom – even if it is more difficult than it probably is for TV shows, games, films etc…


Anyway, I hope that this was interesting πŸ™‚

Four Reasons Why Shorter And/Or Segmented Webcomics Are Awesome To Make


When you hear the word “webcomic”, it can be easy to think of gigantic long-running webcomics with literally thousands of comic updates featuring the same characters. It can be easy to think that all webcomics should ideally look like this. After all, the most famous webcomics tend to follow this pattern – and there are certainly advantages to it.

However, it’s certainly not the only way to make webcomics. There are, of course, webcomics where virtually every update is a self-contained thing containing new characters (although this requires a lot more imagination and it can limit the stories you tell).

But, in this article, I’ll be talking about webcomics that consist of lots of short stories and/or separate groups of self-contained updates which all contain the same characters. After all, with several variations , this is the main type of webcomic that I make these days and it’s somewhere in the middle of the two approaches to making webcomics that I’ve mentioned so far.

So, why is this short story/ segmented longer story approach to making webcomics so awesome?

1) It’s a GOOD way to make occasional webcomics: If you only have the time, energy or enthusiasm to make 7-21 webcomic updates per month, then one cool way to deal with this is to make your 7-21 updates and then release them as one or more short “mini series” containing several daily updates ( but which only last for 1-3 weeks).

Although this lacks the constant regularity of, say, releasing 1-3 updates per week, it also means that you don’t have to worry about having to produce a new update every 3-7 days (which can be great if, like me, you like to make comics in short, intense “bursts”. Or, if you want more flexibility in the number of comic updates you make each month).

As long as you actually tell your audience that you are only posting a short daily series, it is considerably better than releasing individual updates sporadically or whenever you feel like it.

After all, updating to a regular schedule (even if you’re only posting comic updates for 7-21 days at a time) is one of the things that helps a webcomic keep it’s audience. Unless your webcomic is as excellent as Winston Rowntree’s Subnormality, your audience probably isn’t going to like checking back regularly with only a vague chance that new content might be waiting for them.

So, it’s a good way to make an occasional “whenever I feel like it” webcomic without the risk of your audience fearing that your webcomic could never be updated again. One thing that can help with this is if you release regular non-webcomic content (eg: art, writing, small sketches, photos etc..) when you aren’t posting webcomics – this helps to reassure your audience that you are still making new content and haven’t abandoned them.

2) It keeps things fresh:
If, like me, you have a short creative attention span then the idea of working on a traditional long-running webcomic will probably seem virtually impossible. After all, you’d run out of enthusiasm for the characters and settings after a while.

But, splitting your webcomic up into small groups of self-contained daily updates or short stories (containing 6-14 daily updates) featuring the same characters means that you finish each “comic” before you run out of creative energy.

Not only that, since you’ll have to come up with a new story or theme for each segment of your webcomic, it means that you’ll always have something excitingly new to write and it means that your audience is less likely to get bored.

If the premise of your webcomic is “open” enough – then you can also include stories from several different genres within the same webcomic series too.

3) It’s traditional: Traditionally, this was what a lot of comics looked like. Whether it was weekly 1-2 page stories featuring the same characters in The Beano or totally new and self-contained 6-10 page stories in old American horror comics, this format goes back a long way.

Yes, the superhero genre – with it’s giant story arcs and confusingly dense mythology- may be the dominant type of print comics in popular culture these days but, before that, comics on both sides of the pond often tended to prefer shorter stories that sometimes featured a common cast of characters.

At the time, comics were a mass medium which was intended to entertain. Since the internet didn’t exist, the people making the comics couldn’t rely on their readers having found and read every previous comic in order to keep up with the story – so, shorter stories were preferred for the simple reason that they were more “accessible” to new and infrequent members of the audience.

So, if you want to give your webcomic a slightly “old-school print comic” atmosphere, then using this format can be a good way to do it.

4) It gives your comic structure: One of the problems with traditional long-running webcomics is the feeling that they’re never finished. If you’re making one, then it can be easy to feel like you’re that character from Greek mythology who is condemned to roll a boulder up a hill for eternity. You’ll never really get the satisfaction of actually completing something.

However, if you make small groups of webcomic updates, then each one is a separate project with a beginning, middle and end. Once you’ve finished posting a short webcomic, you can copy all of the daily updates into a single post like this one and put it online for your audience’s convenience.

Even if you’re using the same characters in each of your small webcomics, then this still gives your comic series a sense of structure. It turns into something like a TV show, which has lots of different “episodes” or “seasons”. As well as allowing you to feel the satisfaction of making something like a TV show, it also means that it’s a lot easier for your audience to find and reference specific comics too – especially if you make an index page like this one that contains links to your comics.


Anyway, I hope that this was interesting πŸ™‚

Three Sneaky Ways To Cram More Stuff Into A Webcomic Update


Well, although it won’t be posted here until late June, I finished making a short webcomic mini series a few hours before writing this article (which tells a short detective story in just six comic updates). So, I thought that I’d talk about compact storytelling in webcomics today. But, first, here’s another preview of the upcoming mini series:

The full mini series will start appearing here on the 25th June, but stay tuned for more mini series in the meantime

The full mini series will start appearing here on the 25th June, but stay tuned for more mini series in the meantime

1) Plan it first!: One of the best ways to tell a lot of story in a relatively small space is to make a full plan of the comic first (eg: make very rough sketches of each update, including dialogue). If you plan out your comic before you make it, then it’s easier to see what can be changed, cut or moved around in order to free up more space.

For example, with the upcoming mini series, my original plans ended up looking fairly different from the finished comic. Some of this was because I’d come up with a better idea for the ending whilst making the comic but, mostly, it was because I was looking for ways to save space.

One example of this was that, in my original plan, one of the updates would have consisted of four dialogue-based panels. But, when I was making the comic, I realised that I could reduce the dialogue slightly and cram four small panels into the top half of one of my comic updates. This essentially allowed me to squeeze two comics into just one comic. Here’s a shrunken preview of the finished update, which shows the panel layout:

Thanks to looking at my plan and revising it, I was able to reduce the size of one planned update by half whilst only losing a minimal amount of dialogue.

Thanks to looking at my plan and revising it, I was able to reduce the size of one planned update by half whilst only losing a minimal amount of dialogue.

If you can get a general overview of your comic before you start making it, then these kinds of changes are both considerably easier to make and easier to think of.

2) Panel size, formatting and layout: One of the easiest ways to cram more story into the same amount of comic space is to use a larger number of smaller panels. However, if you do this in the wrong way, it can ruin the look of your comic.

Generally, you should also try to include some larger panels too in order to avoid visual monotony (and to show off some interesting art too). For example, my current format for webcomic updates is to use an 18 x 18cm square that is divided into two horizontal “rows”. Usually, there are two panels on the top row and two on the bottom – like this:

"Damania Repressed - Analytical Engine" By C. A. Brown

“Damania Repressed – Analytical Engine” By C. A. Brown

But, when I was trying to cram an entire detective story into just six of these “standard” comic updates, I followed slightly different rules. In order to avoid the comic updates looking too “squashed”, most of them have three panels in one row and two in the other. Like this:

This is how to sneakily add an extra panel to your updates, whilst keeping them the same physical size.

This is how to sneakily add an extra panel to your updates, whilst keeping them the same physical size.

This also made them look fairly similar to a “standard” comic update, whilst also allowing me to add an extra panel. These extra panels can add up fairly quickly too πŸ™‚

3) Know what not to show: This one can take a bit of practice and research (eg: read lots of comics, look at the editing in scripted TV shows etc..) to get right, but you can increase the amount of story in each webcomic update by knowing what not to show. In other words, you need to know when to let the audience’s imaginations “fill in the gaps” and when to actually show something to the audience.

For example, in the penultimate update of my detective comic, I included a small panel showing a police car driving towards the house that the comic is set in. In the final update, there’s another small panel showing a policeman arresting the culprit (after Harvey, the detective, has concluded the case). Yet, there are no pictures of the policeman entering the house or introducing himself to everyone.

Because the audience has seen the police car driving towards the house, the sudden appearance of a policeman several “minutes” later isn’t too surprising. And, yet, this whole part of the plot only takes up two small panels.


Anyway, I hope that this was useful πŸ™‚

Four Basic Tips For Making Detective Comedy Comics


Well, at the time of writing, I was busy making a webcomic mini series that will probably be posted here in late June (in the meantime, you can find links to many others here).

Since this webcomic mini series will be something of a parody of traditional “cosy” detective stories (and it’s also kind of like these other detective comedy comics I’ve made), I thought that I’d talk about how to make detective comedy comics today. But, first, here’s a preview of the first comic update from the upcoming mini series:

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

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

So, how do you make detective comedy comics? here are a few basic tips:

1) Research and inspiration: The best detective comedy comics are usually a parody of various pre-existing things in the detective genre. So, do your research first! I mean, the main thing that inspired the upcoming webcomic that I mentioned earlier was the fact that I’d watched a couple of series of the classic ITV adaptation of Agatha Christie’s “Poirot” a couple of weeks earlier.

Find a type of detective story that interests you (eg: hardboiled detective stories, “cosy” mysteries, modern forensic detective shows etc..) and then immerse yourself in them as much as possible. Binge-watch DVDs, read online articles, read novels etc… until you can firmly picture what one of these stories looks like. After all, you can’t parody something if you don’t know much about it…

2) Detective types: As any fan of the detective genre will tell you, detectives come in many types. There’s the classic “Sherlock Holmes”-type detective, who uses logic and reason. There’s the more sophisticated Agatha Christie-type detective who uses an understanding of the human condition to solve mysteries. There’s the hardboiled gumshoe of the film noir genre who isn’t afraid to get tough to get some answers etc…

One of the easiest ways to make a detective comedy comic is to put a detective in a story that is set up for another type of detective. For example, the main detective in my occasional long-running webcomic series is more of a “Sherlock Holmes”-type detective (with maybe a few hints of a classic pulp fiction private eye), so by putting him in a more Agatha Christie-style story, there will be a few differences between audience expectations and the events of the story.

Of course, you can take this a step further by, say, putting a genteel Agatha Christie-style detective in the hardboiled world of, say, 1930s Chicago or something like that.

3) Farce and dark comedy: By it’s very nature, the detective genre is absolutely perfect for old-school farce. After all, it’s a very physical genre – there are bodies lying around, villains lurking behind things and all sorts of unusual items that could be used as murder weapons. It doesn’t take a genius to see how these things can be used for farcical slapstick comedy.

Likewise, because detective stories revolve around murder, evil and treachery they are absolutely perfect for the dark comedy genre too. You can do all sorts of things, like showing that the crime has been committed for a really silly reason or adding some humour to the discovery of the body. Likewise, the detective’s deductions can also be a good source of dark comedy, like in this old comic of mine:

"Diabolical Sigil - Page 5" By C. A. Brown

“Diabolical Sigil – Page 5” By C. A. Brown

4) The detective gets something wrong: This one is really self-explanatory, but people expect detectives to actually solve mysteries.

If your detective gets either all or part of the final conclusion to the mystery wrong, then this can be a brilliant source of comedy. Of course, you can also go one better than this and have your detective realise that they were wrong – only to come up with another wrong answer.

If you want a brilliant example of this comedy technique at it’s best, then check out an episode of a classic BBC sitcom called “Blackadder Goes Forth” called “General Hospital”, where the main character has to find a German spy in a WW1-era field hospital.


Anyway, I hope that this was useful πŸ™‚

Three Things You Can Learn From Failed Comic Plans


Well, the afternoon before I originally wrote this article, I’d been planning yet another webcomic mini series for mid-late June. This mini series would have been part of my occasional “Damania” webcomic series (which seems to be the only webcomic series I’m making these days) and it would have been called “Damania Review”.

The idea behind it was that the characters from the series would do humourous “reviews” of various films, games etc… Out of the ten comic updates I’d planned to make, I made the basic plans for about nine of them. The planned comics looked a bit like this rough plan for the sixth or seventh one:

[CLICK FOR LARGER IMAGE] This was the rough plan for a 'Resident Evil' themed update, about how the very first "Resident Evil" game is 'so bad that it's good'

[CLICK FOR LARGER IMAGE] This was the rough plan for a ‘Resident Evil’ themed update, about how the very first “Resident Evil” game is ‘so bad that it’s good’

Even though I soon realised that this idea wouldn’t “work”, planning this abandoned mini series wasn’t a total waste of time. So, what are some of the things that failed comic plans can teach you?

1) Your humour style: Although the idea of making a mini series that was almost entirely made out of direct parodies of games, films etc.. initially seemed like a good idea, I quickly realised that this is a type of humour that I tend to do best when I only use it occasionally.

In fact, I remembered that I tend to make my best parodies when I try to tell an original story that is a pastiche/parody of an entire genre or sub-genre (probably due to all of the old BBC sitcoms I grew up with, which were forced to do this since UK copyright law didn’t actually contain an American-style exemption for direct parodies until relatively recently – and that was only because the EU told us to make this sensible change).

If your comic plan fails, then there’s a good chance that there was something wrong with the humour (or possibly the narrative, romance and/or horror if you’re making something a bit more serious). In other words, there’s a good chance that the style of humour you’re using in your failed plan is one that isn’t the best one for you.

By looking carefully at the humour in your failed comic plan, you can learn more about which types of humour you are best at writing. Even if you learn which types of jokes don’t work for you, then you’ll at least know a little bit more about your comedy writing style.

2) Comics as a whole: One of the problems with my failed planned mini series was the fact that, although there was a lot of character-based humour in it, the amount of character interaction was fairly low.

In other words, many of the planned comics only contained one of the series’ four main characters – meaning that all of the comedic techniques that can be used with two or more characters couldn’t be used that often in this comic.

By carefully looking at your failed plans as a whole, you can learn a lot of general things about making comics. After all, your plans have failed for a reason. If you can find that reason, then you can learn something new about making comics.

3) Your limits: I had initially thought of this failed mini series as something quick that I could make in a single weekend. After all, I would be making parodies of pre-existing things – what could be easier? That was the theory, at least.

It was only a little while later that I realised that this comic series would mean learning how to draw at least 5-10 celebrities and/or fictional characters. It would mean making numerous practice sketches and looking at numerous reference photos. Not only that, there was a good chance that at least one or two of the celebrities/characters that I would have had to draw would probably be difficult to work out how to draw in my own stylised art style (there’s no rhyme or reason to this, some people are just difficult to draw – I mean, it’s why I barely made any political cartoons when David Cameron was prime minister, because I just couldn’t work out how to draw him).

So, yes, failed comic plans can be a great way to see your own limitations and to either find ways to work around them (by changing your plans) or to find other projects that play to your strengths.


Anyway, I hope that this was useful πŸ™‚

Four Important Things To Remember Before You Start Your First Webcomic


Webcomics! If you’ve read a few of them, then you might possibly want to start your own one. In fact, you might actually even try making one. This is, of course, how many people who make webcomics get into making webcomics. It’s how I got into making webcomics, even if I only make occasional mini series of 6-17 daily comic updates these days.

Still, there are a few things that are worth bearing in mind before you start your first webcomic. If you’ve read this blog before, then you’ve probably heard all of this advice already, but I thought that it might be useful to put the most important parts of it into one long-winded article.

1) Your first webcomic won’t be great (and that’s alright!): There’s a very good reason why the page I linked to earlier in this article only showcases the webcomics I made from 2015 onwards. The very first time I posted a webcomic online was in 2010 and I won’t even link to that one – even thinking about it makes me cringe at how badly-written and badly-drawn it was.

But, do I regret making that abysmal first webcomic? No! If I hadn’t made that terrible first webcomic to prove to myself that I could make webcomics, I wouldn’t have made the mildly less crappy ones that I made in 2011-2013. I wouldn’t have got back into making webcomics in 2015, after a year-long hiatus where I just made daily paintings instead (caused by making too many webcomics in 2012-13). I wouldn’t be making occasional mini series to this day.

That one terrible early webcomic is responsible for all of the webcomics I’ve made ever since. Without it, the better ones I’ve made would never exist!

When you make your first webcomic, you will probably be inexperienced at both comic writing and/or making art. This is ok! Everyone is inexperienced when they start out.

Even the very first update of the very best webcomic ever made will look awful when compared to the most recent one. The true test of a webcomic creator is if they’re willing to keep practicing even though they know that their earlier comic updates aren’t as good as the ones they’ve seen online.

If you truly love the medium of webcomics, then the fact that your first few hundred comic updates won’t be great will not bother you! The fact that your comic updates might only get a few views on a good day won’t bother you!

After all, not only are you having fun making your comic, but you’re also gaining the practice, experience and skills that you need in order to make better webcomics. Also, you’re actually making webcomics! How cool is that?

2) Make ten or more updates before you post anything online!: This is the most useful thing that you can do if you’re starting your first webcomic. Make at least ten comic updates before you post any of them online. This is useful for two reasons.

Firstly, it allows you to test out your webcomic. It allows you to see if the characters are interesting enough, if the humour is good enough and if you can think of enough good comic ideas for the premise you’re using.

It also allows you to judge how much time it takes you to make a webcomic update, so that you can come up with a realistic update schedule (that you’ll actually stick to).

Secondly, it means that you’ll already have a comic buffer before you post anything online.

If you don’t know what a comic buffer is, it’s the most useful thing any webcomic creator can have. Basically, it’s where you stay several comics ahead of the ones you post online because you’ve already made the next 1-1000 updates in advance. If you’re using a blog to post your webcomic online, then you can often automatically schedule your updates to be posted at any time or date you want.

Having a comic buffer takes a lot of the stress out of making webcomics since, although you still need to make comics regularly to maintain your buffer, if you aren’t able to make a comic update one time then it means that your audience won’t miss out. It means that you won’t constantly be rushing to meet deadlines in the way that you would be if you posted your webcomics immediately after you made them.

3) Let it change!: If you keep making a single webcomic (even occasionally) for a long time, then it’s going to change. This is ok! For example, my current occasional “Damania” webcomic series was originally supposed to be a dramatic “Buffy The Vampire Slayer”-style urban fantasy comic when I started planning it in 2011-12.

Then, it was mostly supposed to be a slightly surreal “newspaper comic” style webcomic in 2012-16. These days, it’s a silly comic about a gang of miscreants (and a detective) who go on all sorts of stupid adventures. It couldn’t be further from the serious “magic, ghosts and vampires” comic that I’d originally set out to make in 2011-12!

Your webcomic will change from the thing that you’re just about to start making, and this is good! Often, a webcomic will change because you find that it’s easier to stay inspired if you do something different (eg: switching from self-contained updates to short story-based comics). It’ll change because you get to know the characters better. It’ll change because the things that inspire you will change. I could go on all day, but it’ll change.

Let this change happen! Not only will this mean that you’ll end up ditching the parts of your comic that don’t work, but it also means that you’ll be able to stay motivated and inspired.

4) A crappy update is better than no update!: It’s probably worth writing that down. When you make webcomics, there will be days when you will be uninspired. There will be days when you don’t feel as motivated as usual. You still need to make webcomics on those days! Even if the things you make are badly-written or badly-drawn, you still need to make them and post them (or add them to your buffer)! But, why?

If you are following any kind of update schedule, then your audience will expect to see something at the appointed times. Give them something! Even if it’s just a quick sketch of one of your characters with a sarcastic caption about writer’s block underneath it, it’s something! It’s something that shows the audience that you’re still making your comic and that they should keep reading it.

No matter how awful, unfunny, clichΓ©d, uninspired or crappy your next webcomic update is, it’s still better than an empty page! Even if people online moan loudly about how terrible your comic update is, that is still better than the ominous silence of people leaving your comic because they don’t think that it’s still being updated.

Likewise, although forcing yourself to make comics when you don’t feel up to it might seem difficult, it gets easier with practice. Plus, it will give you practice too! It’ll also allow you to stay in the “rhythm” of making comics regularly.

If you’re worried that this might give you webcomic burnout (which was something that happened to me in 2014), then make changes to your webcomic. Release it in occasional mini series (like I do now). Reduce your update schedule if you have to. But, whatever you do, if you tell your audience that you’re going to post a webcomic at a particular time, then do all you can to keep that promise – even if it means posting a sub-standard update.


Anyway, I hope that this was useful πŸ™‚

Three Causes Of Weak Endings In Comics, Webcomics etc…

2017 Artwork Weak Endings In Webcomics article sketch

Although this problem will affect some of the comics that I’ll be posting here over the next few months, I thought that I’d talk about weak endings in comics.

This seems to be a problem that I run into whenever I try to make a webcomic mini series that tells any kind of story. The story itself will be interesting, but the ending will sometimes just be dull and anticlimactic.

So, I thought that I’d list some of the reasons why weak endings can happen when you’re making comics.

1)The status quo: When I was making my “time travel trilogy” of comics (that can be read here, here and here), the endings to the first two were a lot better than the ending to the final one. And I think I know why.

With both of the first two mini series, the endings led directly to the beginning of the next mini series. At the end of these parts of the story, the characters were somewhere new. Something was different. The dynamics between the characters had been affected by everything that had happened before.

In other words, the events of the story had a noticeable effect on it’s outcome.

However, at the end of the final mini series, everything (mostly) returns to normal. After all, I was going to use these characters in many other self-contained mini series. Even when I attempted to add dramatic changes to the end of other mini series that I’ll be posting in the future, they often had very little effect on any mini series I made afterwards.

Returning to the status quo at the end of a comic is something of a double-edged sword. On the one hand, it makes future comics easier to write and it means that the audience can read many of your comics in any order that they want to. On the other hand, it also means that your story ends with a dull return to normality. It means that your characters have done nothing more than go around in circles.

2) Creative exhaustion: Although it may look easy, even making shorter comics can take quite a bit of effort. By the time that you reach the ending of a comic, you might even feel slightly glad that it’s going to be over (even if you’ve had a lot of fun making it). This is especially true if, like me, you often can’t just stop and start a comic once you’ve started making it.

Regardless of how fun the rest of the comic has been to make, there’s often a very strong instinct to just finish the damn thing and to either take a break or move on to the next excitingly new project. This can, of course, affect the quality of the ending.

After all, if there’s one thing that I’ve noticed about the endings of a few of my comics that have (or will) be posted here this year, it’s that the art in the final “page” is noticeably more rushed than the art during the middle of the comic.

3) Planning: Even though I tend to plan my comics a lot more than I did a few years ago, one thing that I’ve noticed is that the ending will often have less planning than the rest of the comic.

Often, when I’ve planned the beginning and the middle of a comic, I’m really eager to get started on making these parts and I often have a general feeling of “I’ll cross that bridge when I come to it” with regards to the ending. Sometimes, this works – sometimes, it doesn’t.

So, I guess that lacklustre endings can sometimes be part of the trade-off between starting a comic when you are still filled with enthusiasm about it or waiting until you have slightly less enthusiasm and a better plan.


Anyway, I hope that this was interesting πŸ™‚