We’ve heard it and experienced it many times: For a creator to make an impact, to truly etch his/her message in the brains of his/her audience when it comes to art, from novels to films to comics, imagery with a high shock value is employed or simulations ...

Gimme Five - Senses in comics

Comics are a one-sense medium. Or web comics are, at least. I suppose print comics have a physical touch sensation, as my ink-stained and paper-cutted fingers can attest.

But I'm talking about In-Story sensation. Sight is the only sense automatically being engaged in a ...

Well hell, long time no see huh? I'd like to say I'm back from my, er, break all rejuvenated and refreshed and what have ya but honestly it's damn near midnight and I'm running on three hours of sleep that I managed to eek out on ...

CATHARSIS
from the Best of Banes Collection


A writing instructor once gave me brief advice on how to write a story, structurally speaking. It was 1/4 Act One setup, 1/2 Act Two complications and rising stakes (I think), and about 1/4 An Act Three “cathartic ending”.

I ...

THE LAST PART!

Part One:
http://www.theduckwebcomics.com/news/2017/may/10/the-comedy-plot-toolbox-edition-part-one/

Part Two:
http://www.theduckwebcomics.com/news/2017/may/17/the-comedy-plot-toolbox-edition-part-two/

Part Three:
http://www.theduckwebcomics.com/news/2017/may/17/the-comedy-plot-toolbox-edition-part-three/


This is it! Part Four of the “Comic Toolbox” approach to comedic story structure ...

Hello again!

I'm gonna continue for the next two or three weeks about “The Comedy Toolbox” approach to comedy structure.

There is quite a bit of crossover between this method and other methods you've heard of. But that's probably a good thing; there should be some similarity ...

Aight! It's that time again, ain't it? Now we been talking a lot about rules and limitations and discipline and approaches to making your comics and making them better. This week we're gonna step away from all that for a spell and talk about how not making ...

Every now and again, an acquaintance or friend who ain't as deep in comics culture and creation as I am (which is to say they ain't really got much of an idea about comics but have seen the Sunday funnies page and know that Batman is a thing ...

But and Therefore

I'm a fan of user-friendly, practical advice on things, especially writing. It's why I dig the Banes Method (it's not my method; it's just named after me).

Anyway, I came upon some dandy advice from Trey Parker and Matt Stone of South Park ...

So last week I talked about the basic principles of dialogue, so the recipe to the cake itself. But now I’d also like to talk about that cake’s icing and trimmings- what will make the dialogue we’re writing be fun and distinct and pop in our comic ...