Great Pumpkin

The Great Pumpkin is rising!


san diego comic con 2018

Although this was my seventh year at SDCC, it still felt new. Perhaps partly because it is now my only ComicCon of the year, so my body is not ready for the full marathon. But mostly because every year, although the event itself remains the same, the experiences change.

Fortunately my friends Rachael and Alyssa were there to help with my table once again (this time with the addition of Alyssa’s boyfriend and dad!). My neighbors, both old and new, made the long haul from Wednesday to Sunday feel more like a marathon run with friends rather than a long slog done alone.

Thanks to everyone who stopped by, and to the people who worked tirelessly to make SDCC such a successful place for indie cartoonists like myself. I hope to see you all again next year.

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Hamlet and the Modern Comic Strip

Why do comic strips have four panels? When Charles Schulz began Peanuts, it was four panels. This made it easier to stack on the page. You could have four panels across or stack two by two. Or you could stack one by two by one. Or three by one. Like building blocks! What could be more fun than reading building blocks? Nothing.

The strange thing about four panels is, it goes against much of what modern storytelling teaches us. Most movies and TV shows are all about the three act structure. See how easily it works out: beginning, middle, end. You can tell a story in three anythings. Panels, rutabagas, sausages, onions. Three of anything makes a story. Or so they say.

Don’t be fooled into believing the three act structure evolved from plays. Many plays had four or even five acts. It’s true. Hamlet, a little-known play by Shakespeare, has five acts. For Better or For Worse, a comic strip by Lynn Johnston, has five panels. Therefore, For Better or For Worse uses the same structure as Hamlet. Really it isn’t the only thing Johnston stole from Shakespeare. The elevated dialogue, the death of all the main characters in the final panel: these elements come directly from the Bard. I’m surprised Kenneth Branagh has not adapted For Better or For Worse for the screen yet. (He’ll get there right after he does Two Gentlemen of Verona.)

To be fair, the first panel in a four panel comic is often a summary or a scene-setter. Are your characters in an old abandoned warehouse filled with toxic fumes? You need that first panel to show this. Then your characters say something witty about their dire circumstances before they perish. Are you continuing a story from the previous day? The first panel is a good way to remind readers what happened yesterday before you plunge them into today’s adventure.

Shakespeare might have been a competent cartoonist had he not slummed it with the actors. He certainly had the knack for creating new characters. Tom Batuik (Funky) proved you can kill off your character in the funny pages, so Shakespeare’s tragedies would fit right in as well. In closing, I hope to continue the grand tradition of the four act play in pictorial form with Falling Rock. Think of this: the Cliff’s Notes for a comic strip would only be a single sentence.