Sep 9, 2019
Based on Banes' newspost about the latest Dave Chappelle comedy special, this Quackcast talks about the way audience reception to it has been somewhat divided based on the topics covered verses current prevailing attitudes and the so-called “outrage culture”
Topics and Show Notes
We broaden things a bit to talk about the so-called PC culture and what it really means: ie There are many people who's main motivation is to work positively to make sure others are included and supported, especially people who were traditionally excluded or marginalised. Then there are others who find a sort of pleasure in using the structure of “PC” as a weapon to attack their perceived enemies, making them into strawmen and performing ad hominem attacks on them. We discuss how that tendency has the potential to make them just as bad as those they revile: the end doesn't justify the means.
Culture does change though and we have to keep up with what's right and what's not. This isn't a new thing- Just because we grew up with and were used to certain attitudes as children it doesn't mean those attitudes are right and normal and will never change.
This week Gunwallace has given us the theme to ArGH ZoMBiE - really fricken bloody creepy!!!! Haunting, futuristic, and… cute. I’m not quite sure how that’s possible. Listen and be astounded by this interestingly impossible mix and try not to get too creeped out. Keep the lights on!
Topics and shownotes
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Limbo Road - https://www.theduckwebcomics.com/news/2019/sep/03/featured-comic-limbo-road/
ArGH ZoMBiE- https://www.theduckwebcomics.com/ArGH_ZoMBiE/, by Skepticalsquare, rated T.
Banes' Dave Chappelle newspost - https://www.theduckwebcomics.com/news/2019/sep/04/too-hot-for-tv/
Special thanks to:
Gunwallace - http://www.virtuallycomics.com
Banes - https://www.theduckwebcomics.com/user/Banes/
Ozoneocean - https://www.theduckwebcomics.com/user/ozoneocean
Sep 2, 2019
How about having it so anyone in your story can die? Let me explain: It's fake. NOT just anyone can die OK? Your main character will still survive until the end and all that, but what you do is set things up so it really truly looks like they're vulnerable and can die, this way it gives the story bigger stakes. If all the other characters are obvious redshirts then who cares? You KNOW the main character or characters will make it to the end so the threat of death or even injury isn't that important… But if you set things up right and have some clever fakeouts then the story will have much more impact!
Aug 26, 2019
Cooperation Vs Competition. For decades the mantra was competition is good: it produces progress and makes things better… Well that's actually false. Competition is what you're forced into as a response to limited resources, so you do what you have to to win, which mainly involves losing everything that doesn't serve that specific objective. Competition is massively harmful to progress in general, it ONLY helps you excel in one small area to massive cost. Think of it in terms of an Olympic sprinter: they become the fastest runner in the world, but to what point? Only the artificial structure of a sporting event… they spend years training, exercising, eating right, wasting a huge portion of their lives, creative, and intellectual potential on that one meaningless goal, and IF they achieve it they might get a bit of fame and money and a footnote in history because someone else will inevitably take their spot. More likely though they won't achieve the goal and instead be forgotten.
Aug 19, 2019
Today we compare and contrast two ways of making characters: starting with a pure archetype and building it with tropes, or creating a character organically through circumstance and interaction with other characters.
Jul 8, 2019
This time we're chatting about settings and where your characters exist in space… where does all the action happen in your comics and WHY does it happen there? Bane's had the really novel idea of thinking of story settings as action playsets, which are toy settings made based on a TV show or movie where you can play with action figures and act out key moments FROM the TV show or movie: Unlike a dollhouse they only have the key sets where the important things happen.
Jun 17, 2019
This Quackcast is about having political agendas in your work and expressing them well! We're talking about deliberately putting in ideas that you want to get across to people, NOT the idea that all work has agendas and ideas no matter what. That's not relevant to this discussion. When you want to want to get your ideas across there are good ways to do it and poor ways. When you do it poorly your work either has the opposite effect (people will laugh at your agenda or despise it), or it becomes propaganda. Propaganda is for preaching to the converted, it's terrible for changing minds. The only thing it's good for is motivating people who are already on-board with you.
May 13, 2019
Inspired by Emma Clare's Friday newspost about supporting characters, today we're discussing sidekicks! Sidekicks are a useful character type that are used in so many different ways. They can be a specialised type of supporting character that are also a main character or they can be the main protagonist in some cases. In comics sidekicks came in during the early days as a way of giving juvenile readers their own insert character who they could identify with… Bucky Barnes, Jimmy Olsen, Robin etc. They had other functions like giving the hero someone to save, providing commentary, reaction and exposition. Later when that kind of sidekick fell out of favour they became superheroes in their own right.
May 6, 2019
In this Quackcast we chat about set-ups. pay-offs, and rip-offs. To make your climaxes and endings more satisfying you have pay-offs for audience expectations: set them up in the story and pay them off at the end. If you fail to pay-off then you get a rip-off, it's pretty simple. Your audience will be really disappointed. That's not to say disappointing and unsatisfying ends to stories are wrong, not at all! Often those are fully intended. We're just talking about satisfying audiences, not “good” endings.