# Comic Trouble.



## Loken (Jan 24, 2009)

So I am writing and illustrating a comic that I will post on FA when its done.  But I am running  into some trouble when it comes to where I should go thematically.  I had two goals setting out, first was just developing my skills as an artist.  Secondly I wanted it to basically be a variety of flawed characters in an open world where I could play with issues (political, social, etc...).  But this is where I encounter a problem, I find it hard to take myself seriously enough to write any type of drama.  To the point where I cannot decide on basic character dialog because I always end up thinking it "sounds stupid".  

I also don't know (because of lack of experience) how well a reading audience deals with drastic swings in tone.  One issue being fairly light heart ed and the next being darker that is.  The only thing I can think of that pulled something like this off is Transmetropolitan, and I would like other examples of if these swings can be successful.  Basically I would like to see a kind of scale of how far you can go in each direction without it getting ridiculous.

If anyone can help this artist break into writing it would be greatly appreciated.  Much love, Loken.


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## M. LeRenard (Jan 24, 2009)

If you want crazy swings in atmosphere, try watching anything by Shinichiro Watanabe.  It's not writing, but it's anime, which is kind of like manga, which is kind of like what you're trying to do.  In any case, there's a lot of utter craziness mixed in with a dead serious plot, so I think seeing how it's done there could help you out.
As for this:


> To the point where I cannot decide on basic character dialog because I always end up thinking it "sounds stupid".


That's a skill you've just got to build up on your own.  I wrote a thread on the topic of dialogue a while back... you could take a look there and see if you find anything useful.  If it's coming across as unbelievable or stupid, maybe your characters just aren't that interesting.  For example (I'm just making this up on the spot):
"How I have longed for this day.  I shall make you feel twice the pain you have caused me, and I will revel in every minute of your agony!"
Pretty awful, right?  So instead, let's actually give the character a personality:
"This is going to be so nice.  You have no idea.  You know how, when you want something, and you don't get it and you don't get it and you don't get it, and then all of the sudden you have it... you know how good that feels?  Well, hurting you right now is like that.  Only better.  Now shut up and give me your hand for a second."
It's a bit better, I would say, and I hope you agree with me.  You actually get a sense of who this guy is.  Any line of dialogue needs to give that sense.

The technique here is to worry less about what's being said and worry more about who's saying it.  You get a character who's interesting enough, anything he talks about will be a blast to read, even if it's the study of microeconomics in ancient tribal settings in southeastern Africa.  Get the voice in your head, and transfer that to paper.  Or screen, or whatever.  It should make it both easier to write the dialogue and schnazz it up a bit.
Hopefully that helps a little.


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## Tanzenlicht (Jan 25, 2009)

One of the artistic skills you're honing in doing a comic is dialogue.  You just have to do it and then you'll be better at it next time, exactly like the drawing.

As for the comedy/drama thing, life has both, so if you're handling it realistically it shouldn't be a problem.  If you have wacky, silly elements they're going to stick out when you swing on over into the dramatic bits.  If you have good characters then sometimes they'll be funny and sometimes they'll be dramatic.


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## foozzzball (Jan 25, 2009)

Also: Transmetropolitan is essentially dealing with a dead serious character in Spider, in a completely absurd and satirical world.

The characters are real, the world is not.


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