Episode 424 - Selling your creative dish

Apr 29, 2019

On one side we have creators of content and on the other we have the consumers. The consumers number in their billions and they're voraciously hungry for constant stimulation! Pretty much all creators are consumers too… So why don't they want the beautifully made, clever, spicy, artisanal dish you're selling? Why do they prefer the nice, bland, familiar mass-market high in fat, sugar and salt fast-food of the mainstream instead?

Topics and Show Notes

One approach people typically take is just to ape the mainstream and hope that works, sell their own counterfeit McDonald's so to speak. This isn't fun for anyone. You'll get only limited success this way… One of the real reasons popular mainstream things become so popular is because they make us feel more connected to each other and they connect with all of us on some level. They make dishes around things that are tasty and fun to most of us: Pizza, tacos, fruit, tomatoes etc.

Basically we can get more of an audience for our stuff if we create it and sell it more in terms of the things that are universally relatable, are connected to the bigger cultural experience, or that make as feel bigger and more connected to others somehow: like religion for example, patriotism, love, fear for our lives, death, childhood, whatever. The more universal something is the more people it will strike a chord with.
We do NOT have to change our work to include universal themes. What I'm saying is that we should either find those themes already IN our work and turn up the level on them slightly, or simply promote and sell our work in terms of those themes.
Read more in my newspost on the subject linked bellow.

This week Gunwallace has given us the theme to Super Temps: Sounding a lot like someone drumming on the open tops of a lot of PVC piping, this is a slow, creeping beat that builds and layers: a real construction zone. Stacking that scaffolding higher and higher into the dark sky, lit up by bright, piercing arc lamps that star, blur and streak though the dark skeleton of the unfolding structure.

Topics and shownotes

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Featured comic:
Void The Guide to a Healthy Relationship - https://www.theduckwebcomics.com/news/2019/apr/24/featured-comic-void-the-guide-to-a-healthy-relationship/

Featured music:
Super Temps - https://www.theduckwebcomics.com/Super_Temps/, by Smkinoshita, rated T.


LINKS
The Creative Divide newspost by Ozoneocean - https://www.theduckwebcomics.com/news/2019/apr/27/the-creative-divide/

Special thanks to:
Gunwallace - http://www.virtuallycomics.com
Banes - https://www.theduckwebcomics.com/user/banes
Tantz Aerine - https://www.theduckwebcomics.com/user/Tantz_Aerine/
Pit Face - https://www.theduckwebcomics.com/user/PIT_FACE/
Ozoneocean - https://www.theduckwebcomics.com/user/ozoneocean
kawaiidaigakusei - https://www.theduckwebcomics.com/user/kawaiidaigakusei/

Episode 423 - Fave weapons in fiction?

Apr 22, 2019

4 likes, 0 comments

What's your favourite weapon in fiction? Mine are ridiculously giant swords, huge anti-tank rifles, and mecha. There are a lot of complex reasons for weapon choices in fiction, a Kalashnikov assault rifles for example signals certain things about the person carrying it: They're usually a bad guy for a start. This originated during the cold war, with certain types of bad guys using AKs. First it was Soviet Bloc soldiers, then it was Viet Con and rebels from South East Asia, then it became the “terrorist” weapon. The sub machine gun is the weapon of the bad guy. Terrorists used to use Uzis (before they turned to AKs), bank robbers used to use Mac 10s, now it's the HK MP5. Good guys carry an M-16 or AR-15 rifle. In historical fiction traditionally the bad guys carries curved swords while the good guys had straight swords, this came from crusades. Minor characters carry spears and heroes carry swords. Women, weaker characters and rebels carry bows. Giant swords and guns are often given to smaller characters in anime (usually female), as an obvious contrast with their small size. It's meant to emphasis the fact they're sort of a “mighty mouse”.

Episode 422 - Positive promotion and controversial characters

Apr 15, 2019

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The entire gang comes together today for two topics that were taken from recent newsposts: Emma Clare's Positive self promotion, and Tantz Aerine's Handling Controversial Characters. First up we chat about why it's always a great idea to sell yourself positively, NOT be arrogant or douchey, but rather by talking enthusiastically about what you genuinely love about your work and using that REAL and SINCERE enthusiasm to infect others with your love of what you do. Emma was mainly talking about the way you introduce your comics to friends and family but it definitely applies more broadly to self promotion in general: Don't try and get sympathy through self depreciation (oh, it's not very good…), and don't be an arrogant ass (My stuff is AWESOME!), rather you should just be honest about what you love about it (This story was so FUN to write!).

Episode 419 - The Rating Game

Mar 25, 2019

4 likes, 5 comments

It's the rating game! Yeah! This Quackcast was inspired by Emma Clare's newspost on Friday about rating levels. On Drunk Duck we have 4 rating levels so they're nice and simple: “E” for everyone, “T+” for teens, “M” for mature, and “A” for Adult! We talk about why ratings exist and how to use them.

Episode 417 - Can we be better?

Mar 11, 2019

3 likes, 0 comments

What is Social Marketing? Basically its word-of-mouth and viral marketing smashed together and weaponised: Marketing companies hijack hot-button social issues and hitch their client's brand to them in clever campaigns (“We can be better”, etc). The purpose isn't really to make a brand seem progressive, modern or new, rather it's another way of getting it trending on social media that's guaranteed to work, unlike the legion of hit or miss but mostly failed “Viral” campaigns. Whether people say negative or positive things about this issue is irrelevant to the marketer, as long as people are talking about the brand is all that matters. Free advertising is the goal, but it has a social cost.

Episode 416 - Making cuts

Mar 4, 2019

3 likes, 6 comments

The entire team is here this time, no one was cut… So we're chatting about CUTTING, as in cutting out scenes to make a story cleaner, leaner and less flabby, but also NOT cutting because in a webcomic you don't have to, and when you cut badly you end up with a “D movie” effect where story scenes don't follow, don't make sense and plots seem to go nowhere or happen for no reason.

Episode 415 - lazy solutions cause plot-holes!

Feb 25, 2019

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This Quackcast expands on my newspost from Friday about forgotten abilities causing plot holes, but now bunny Banes and Lady Tantz wade in to lend their genius to my silly ideas and we chat about what the real issues are: bad writing and laziness! This is when a character gains the ability to walk through walls or become bullet proof or go back in time and then forgets it for the rest of the story or in the sequel When basically 80% of the problems they encounter could be solved by it… And you're mentally screaming at them “Use your damn power that you got 20 pages ago… Remember that thing that would help you avoid all this trouble!?” Using easy solutions to get out of problems causes plot-holes! And your audience will hate you for it.

Episode 413 - Breaking structure

Feb 11, 2019

3 likes, 0 comments

It's just Ozoneocean and bouncy Banes today. This time we're chatting about breaking and subverting structures, formulas and conventions in webcomics. Commercial creative projects need to use formulas and familiar structures because that's what audiences expect, it's also what studio executives, creative editors, publishers, producers and all the people that greenlight those projects need and expect as well. The Hero's Journey and other conventions and formulas aren't just used because they make good stories but because of the commercial realities and risk averse nature of the industry (there's a lot of money and jobs on the line). Webcomics don't have those pressures so we're talking about why webcomics shouldn't necessarily adhere to popular formulas and structures and why many don't.


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