There are all kinds of relationships and they're great fodder for stories. The most typical is when two characters are getting INTO a relationship- all that will they/wont they stuff. But characters could also be ending a relationship, or maybe ending one in order to get into another, they could even be in a stable, long term relationship, although those aren't quite as common in media. My favourites are the ones where sex and attraction isn't a factor: relationships between family members, co-workers, friends etc. For some reason when it's platonic I find that a lot more compelling than sexual tension, especially when there would normally be the potential for sex- i.e. two unrelated compatible people with the same sexual and gender preference.
Happy Halloween! Our topic is horror Sci-Fi. Sc-Fi brings with it a whole lot more interesting things you can do with horror and scary stories and there are so many great examples, from the worlds of HP Lovecraft, Alien franchise, Dead Space, Doom, Warhammer 40K, Event Horizon, the Cell, the SCP universe and more. We were inspired by Bane's newspost about horror and technology and all the cool responses he had. What's your fave horror SciFi?
How do you write scary scenes for comics? Banes loves horror so he come up with this subject, plus we're coming up to Halloween! Listen to find out what we come up with. How do YOU write scary scenes though, what are your tips and tricks?
“Freedom” is the catch cry in so much historical fiction but it's usually an anachronistic piece of nationalist fantasy. You fought for your lord, for pay, your honour, your small region, etc, not for “Scotland” (i.e. Bravehert). Even today it's generally propaganda: e.g. The Invasion of Iraq being called “Operation Iraqi Freedom” and Russia's invasion of Ukraine being all about “freeing” the Russian speaking areas from “oppression”. We alter historical stories to fit with contemporary ideas about ourselves and to give us some form of foundation for our prejudices, motivations and identity. Good examples are the Arthurian legends, Gladiator, Braveheart, The Patriot, Robin Hood, The stories about Christopher Columbus, The 300, and The Woman King.
When creating fiction we always have to stylise experience in many and various ways in order to communicate with the viewer in a way that's meaningful to them because it's usually impossible to simply show them the exact reality of something and expect that same meaning to carry through.
We are talking about the trope of the Cad, AKA the Player. F***boys are their little scrappydoo kid-brothers, we call them “fun” boys for obvious reasons… It's a fun trope which is often exaggerated for comedic effect but actually comes from a very real thing! There are a lot of famous pop-culture versions though like Barney Stinson, Pepe Le Pew, James Bond, and The Continental.
What happens when the victim becomes the victor? Most of the time it's like the classic line from The Who “Meet the New Boss, Same as the Old Boss”, typically revolutions (and elections), that promise change don't really deliver, the new people use it as a chance to get revenge on their enemies, take advantage of things the same as the last guys, and do everything they can to cling to power. The true exceptions are rare and special, i.e. Vaclav Havel and the Velvet revolution.
If something affects or disturbs you so much that you want to respond to it through a story that you write, that can be a pretty powerful form of inspiration! But it depends on how you handle it. For example, Stephan King's acclaimed novel Misery was inspired by nasty interactions he had with fans after he published a fantasy novel. This story was very well received and even turned into a popular movie. And then there are other ways to handle it…
here's a lot of buzz about so called AI generated art at the moment using programs like Dall-E, Neural blender, Dream studio lite and so on. People use text prompts, i.e. “flying clockwork fish balloon” and the AI generates “art” based upon that. It usually does this by using actual art and photography created by real people, and visually mixing them to create a new image. Some results are much better than others.
Source material is something that we can love and respect, but it's just as often disregarded, degenerated, and denigrated, especially these days where it seems like everything you see is an adaptation or even an adaptation OF an adaptation or worse. I think it's important to go back to the sources so you can see what was truly great about the original to begin with. It can help you see what was lost in the adaptations and to discover new and important meanings and ideas that you never would have guessed at.
What makes a character two dimensional? What makes them three dimensional? Does it matter that they only have two dimensions to them? This was an idea that GeekyGami posed and so we thought we'd explore it in the cast. My own theory is that a character that is purely archetypal, tropeish, or cliche, with everything about them flowing from that archetype, and they never go beyond their archetypal traits- that makes them 2D.
Today we're talking about a technique in storytelling that we're calling the “revelation”. Inspired by Banes doing an article on the weird trope in movies of having a character discover newspaper stories about the villain that suddenly reveal the true stakes of the story and kick things into high gear. There are other types of revelation in stories though and they're used in different ways.
Leaders are not born, they're created… literally in the case of fiction, created by creators of comics, books, movies, and other media! For this Quackcast I was inspired by two things: a video on Leader Characters by the satirical YouTube channel Terrible Writing Advice, and the Disney movie Lightyear, in which the lone wolf classical hero figure learns how to lead.
How do you describe your work to sell it to people? Writing blurbs is a real skill! You generally have to avoid doing these four things: Underselling, Overselling, Selling the wrong story, or Revealing too much. It's quite a tricky balance to master. I've been writing feature blurbs for comics here on DD for many years now (about 16), so I've developed a technique but even I haven't mastered it!
The Manchild can be a fun character or they can be pathetic. They're a staple of comedies because they're an adult that gets to act immature and childish, without the restraint and responsibilities imposed by adulthood. This can make a great contrast; “The adult man acting like an immature child”, John C Riley and Will Farrel have always done that extremely well, as did Chris Farley back in the 90s. It can be be portrayed as pathetic and sad when the person can't seem to be able grow up or take on any responsibilities. They're often characterised by people with “childish” interests, like the cast of the Big Bang Theory, or with a childlike love of something like sports like Kevin in Kevin can F Himself.
