Apr 22, 2019
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”.
Topics and Show Notes
Weapons technology can also be used to signal things about the society using them. In fiction the Nazis are highly mechanised, with their huge Tiger tanks, sleek half-tracks, and fighter panes. It shows a ruthlessly efficient fascist state with the power of high technology on their side. The Empire in Star Wars was directly influenced by them. In reality the Nazi forces were largely horse drawn, their air-force was limited and they had very, very few tiger tanks. But they lent us the “empire” trope where the bad guys have better weapons and the goodies have to beat them with pluck and improvised tactics, as in Avatar.
So what are your fave weapons in fiction and why do you think they're used in stories?
This week Gunwallace has given us the theme to Bottomless Waitress. This is such a happy sounding, Southern, joyful track, filled with banjo and layers of guitar, twanging away… bringing notes of sunshine, natural wood, the light glinting softly through tree leaves and making dappled shadows on the ground… Perfect for an advertising jingle!:
Slip into a comfy booth, get your butt comfortable on our soft cushions, and enjoy a plate of down-home cook’n in this fine establishment, filled with a cast of friendly ladies. Try a plate of our famous bottomless fries, a cup of our delicious bottomless coffee, and the sight of our lovely bottomless waitresses!
Topics and shownotes
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Operation Boom - https://www.theduckwebcomics.com/news/2019/apr/15/featured-comic-operation-boom/
Bottomless Waitress - https://www.theduckwebcomics.com/Bottomless_Waitress/, by Ozoneocean and Banes, rated M.
Your fave weapons in fiction thread - https://www.theduckwebcomics.com/forum/topic/178137/
Special thanks to:
Gunwallace - http://www.virtuallycomics.com
Banes - https://www.theduckwebcomics.com/user/banes
PitFace - https://www.theduckwebcomics.com/user/PIT_FACE/
Ozoneocean - https://www.theduckwebcomics.com/user/ozoneocean
Mar 11, 2019
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.
Mar 4, 2019
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.
Dec 2, 2018
This Quackcast was inspired by a newspost by Tantz. There seems to be this prevailing idea at the moment that serialised storytelling is better than episodic style stories. Tantz informs me that it's one of the many Twitterverse controversies! So let me explain what I mean here: Episodic story telling is when most of the story you're telling can be parcelled into the course of an episode: you can have a strong beginning, middle and satisfying conclusion in the course of your episode, whether that takes the form of a comic chapter, a page, a strip, or a half hour TV show. The Serial style has things stretching over multiple chapters or TV episodes. What we talk about in this Quackcast is that it's an utterly false dichotomy: You do not have to have either or, in fact most projects have elements of BOTH at the same time and it's a little foolish to think that one style could possibly be inherently superior to the other since they're just tools for telling a story. It is up to the creator to pick which one is right for their own work and the context in which it's going to be shown.
Nov 12, 2018
In this Quackcast DD members tell us about their history with us as well as the pros and cons of webcomicing. This is the 400th episode of the Quackcast! That means we've been doing these for over 8 years now. That's quite a milestone for a podcast. We have JustNoPoint over to help us out, he's a Patron at the $20 “Royal” level so he gets a few perks. JustNoPoint has been with us since 2006 with his comic The Devon Legacy. He managed the awards for many years and was crucial to us getting the site back online when we had our hard crash in August of 2013 that destroyed the site so thoroughly that it had to be rebuilt, a job which took us all TWO months!
Jul 16, 2018
The idea for this Quackcast came from a rant by the irascible PitFace. She was talking about how there's a trend in modern SciFi and horror movies to bash you over the head with constant action and it doesn't allow you time to relax and take in the story, you're just bounced from one relentless scene to the next. In the biggest classics of the genre like Alien, Ghost in the Shell (animated 90's version) or Blade Runner they DO allow the viewer slow moments of reflection and it helps to make the action feel more intense by contrast as well as allowing the viewer time to assimilate and understand all the ideas and themes they've been presented with so far.
May 28, 2018
kawaiidaigakusei makes a return to the Quackcast! Together with the crew we chat about some of our favourite comic making tutorials on DD. Yes, there IS a tutorials section on the site and people have created some amazing and clever tutes on how to both write and draw better when making your comics. There are some cool instructions on how to make better pages, write scripts, do rain effects, all sorts of shortcuts and clever tit-bits of info to have you creating like a pro. This week Gunwallace has given us the theme to Potato and Kraut. Feel the gigantic weight this music layers onto your shoulders. A synthesised torrent of gravity, followed by the heavy, deep notes of a piano dropping on top of you like frozen slabs. The torrent slowly eases, brings light and relief, then fades away.
May 7, 2018
Millennials are so dumb, Gen Xers are SO lazy, and those Baby-boomers are just greedy as hell aren't they? But seriously, in THIS Quackcast we chat about the different generations of webcomicers and what's changed and what we have to learn from each other. The first generation of real webcomics came in with Sluggy Freelance, 8 bit theatre and a few others. Webcomics started out in the mid 90s as the web version of “Zines”: independent creator driven personal projects. The second generation came about in the 2000s. Sites like Drunk Duck and Keen Space were a huge part of that. It made it easier for creators to make the jump online. We'd seen what those first guys did and now it was OUR turn, there were a lot of copy-cats in this generation, but a lot of experimentation and creativity too, with sound, animation, interactivity and infinite canvas being a mainstay. Later there was an explosion in hosting sites like DD and comicers moved on to other formats like Tumbler and Twitter etc. The pro comic publishers saw how things were going and tried to get in on the act with online comics too. I think the 3rd generation saw a lot of commercial focussed projects. Comicers saw it as a way to make money so we had a lot of slick, pro work flooding in. In the 4th generation I think we have people doing comics for mobile devices or ON mobile devices. A lot of the comic hosting sites have far more limitations on work than they used to in terms of content and format, a lot of stuff has a bit of a pre-packaged feel, you see almost no experimentation with format now. On the upside though quality is a lot higher and comic sites will reliably work a lot better than they used to. Styles have changed over the generations: In the old days most comics were fully drawn and scanned. Tablets were rare and very expensive and so were graphics programs. If you saw a fully digital comic back then you knew the artist was either a pro or they were at university with access to high level equipment - or it was dodgy work done with a mouse and Windows Paint. Those tools have become far more accessible now and the barriers have come right down. Most work is digital. What generation are you? This week Gunwallace has given us the theme to DreamcomicbookDOTcom! Journey into a claustrophobically narrow electronic service tunnel, filled with high voltage wires humming with unimaginable power and mysterious cables running off endlessly into the dim, dark shadows in the distance. The creepy patterings and low hum of this music will take you there!