Serious Story Arcs

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Killbert-Robby
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Serious Story Arcs

Post by Killbert-Robby »

With all of *shock horror* 3 updates on the Killbert site, its just coincided with some serious business in my life. The question is, is it ok for a primarily comic... comic to have a serious story arc and then resume with the humor.

Also, the previous day, first day, etc buttons dont work, pointers? Kinda off topic, but I need the help.
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TheSuburbanLetdown
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Post by TheSuburbanLetdown »

Calvin & Hobbes was primarily humorous, but was serious on occasion. Even Garfield had that one serious story. It can be a chance for growth.

TV shows do this on occasion with varying degrees of success.
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Post by Rkolter »

A funny comic can have a serious arc if the story you're doing can be made to fit within the comic. That doesn't explain it very well, but basically, so long as the flow of the comic isn't suddenly utterly interrupted so this story can be shoved in, it should be all right.

When Calvin and Hobbes took on serious topics, it was still always from the point of view of Calvin, the kid, and Hobbes, the tiger. Calvin didn't suddenly take on an adult perspective. He kept his kidlike outlook, and his Eureka! moments still were somehow, utterly Calvin-like.
Last edited by Rkolter on Tue Aug 22, 2006 7:32 am, edited 1 time in total.
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Post by Nanda »

Oh, oh! Like the Fresh Prince episode where Carlton takes speed and ends up in the hospital!




:wink:
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Post by Killbert-Robby »

Nanda wrote:Oh, oh! Like the Fresh Prince episode where Carlton takes speed and ends up in the hospital!




:wink:
*scribbles "speed" off of the list of possible tragedies*
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Post by TheSuburbanLetdown »

rkolter wrote:When Calvin and Hobbes took on serious topics, it was still always from the point of view of Calvin, the kid, and Hobbes, the tiger. Calvin didn't suddenly take on an adult perspective. He kept his kidlike outlook, and his Eureka! moments still were somehow, utterly Calvin-like.
Part of the reason the strip was so good.

Nanda wrote:Oh, oh! Like the Fresh Prince episode where Carlton takes speed and ends up in the hospital!




:wink:
I was thinking about that episode as I was writing my previous post. As well as the one where Will's dad came back, but then ditched him again at the last second.
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Post by Jen_Babcock »

I think it depends on how serious the story arc is and what kind of audience is reading your comic. I have had some serious storylines in my comic, but they usually fit into the general themes that I touch upon- love, relationships, friendships. (I would say death, but the storyline about Mona's uncle's death was actually humorous). On the flip side, I don't think Icould really do a convincing serious storyline about something like drug abuse, alcohol abuse, rape, etc. It would just be too heavy for the type of comic I"m writing.

Just evaluate what kind of comic you've been producing and make a line in your head and decide what topics cross that line.

Of course, it is your comic, so you can really do whatever you want!
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Post by Rkolter »

More like, when Calvin experiences the loss of a loved one when Susie gets back at him by stealing Hobbes.
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Post by Killbert-Robby »

*is, for the record, taking all this onboard*
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Post by Perk_daddy »

And make sure you preface it with "Next, a very special episode of Killbert..."
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Post by Killbert-Robby »

perk_daddy wrote:And make sure you preface it with "Next, a very special episode of Killbert..."
I just have a comment set up for the upcoming update which basically says "Look, I'm in a bad mood, just read these and enjoy them til the prozac kicks in"
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Post by Steve Hogan »

The trick is not to get too mawkish or out of character with things. There's a whole category on "Jump The Shark" for shows that ruined things with "A Very Special Episode"....
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Post by Mercury Hat »

rkolter wrote:More like, when Calvin experiences the loss of a loved one when Susie gets back at him by stealing Hobbes.
Or experiences death via a raccoon baby or the scary world when his house is broken into.

You just have to think about your characters and the level of drama you should put in relevant to the level of comedy you have. C&H's serious strips worked well because they were very serious to a child, but not so overbearing as like... Calvin getting kidnapped or his mom dying or something.

It's very easy to go very goofy: Most every American young adult knows about when Saved by the Bell did that episode where a chick got hooked on speed (somehow) and then freaked out spectacularly.

Little dramas can be just as serious as huge ones to some people/characters. Don't try to one-up yourself.
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Post by Jin-roh »

When I read "saved" I suddently thought of the movie "Saved" with Mandy Moore in it.

That was a movie that very funny at times, but I think overall it had a serious arc in it. The ending was total teen movie ending, but other that it was a great peice of film.
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Post by Dutch! »

I reallt should read Calvin & Hobbes, eh? Must find some somewhere...

I know I slip the odd 'serious' or 'thoughtful' strip in every now and then, but it's always at the end of a build up of humour leading the story along. I'm in the middle of one now. If this thread is still running when it builds to the end I might show how I tried to handle it.

If not...I'll look for some Calvin stuff instead.
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Post by Shishio »

I am of the opinion that comic artists can do whatever they want with their stories. It's your story, do whatever the fuck you want.
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Post by TheSuburbanLetdown »

Well, anyone can do whatever they want with their comic, but one should have concern with how a change in direction would be perceived by an audience. No one wants to end up with disasterous results.
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Post by Kasaii »

As someone who's in the process of dropping a serious story into my humourous comic, I say go for it. Just make sure that it fits with the comic, and you'll be fine.

If you can't fit it, do a mini-comic about it instead. :)
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Post by VinnieD »

I'd say be careful not to betray the central theme of your comic.

A sudden change that goes against the basis of your comic will alienate your readers. I've seen more than one comic die this way.

Sluggy Freelance is a good refference for doing it right. Pete slowly segwayed into serious strips by using the funny strips to build character without those characters having to be serious at the time. You can give your character a deeper personallity while keeping with a humorous theme.

Once characters have an established level of depth it's easier for the reader to accept more serious events in the chracter's life.

If your'e wondering how I'd handle it. WHen I started AntiBunny I avoided the problem alltogether by making the comic darker in tone to begin with.

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Post by Jesslynstormheart »

Interesting. I'm currently in the exact opposite situation. I have a serious comic that has take a slight detour to the humorous. Sexy humor. Since it's relatively new, only 17 pages, I have just a small fan base so I don't expect too many will feel betrayed. Also, things will be getting serious again rather soon.

I think the key is to not ride the change for too long. If you have a funny comic, it would be good and even build interest if you deal with a serious subject. It will be an eye-opener. Do it and then move back into the humor when it is done. Sitcoms do it all the time. You just don't want to spend months on a serious subject matter when people are looking for funny. That would be like a sitcom turning into a soap opera and people don't want that.

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