Well, here are some general comments regarding various topics about the comic that I figure somebody might find interesting...

  • Every year, the Gateway does a joke issue in December where it parodies itself. Anyways, I've had the opportunity to see what other Gateway artists think of my comic.

  • When I re-scanned all the strips, I added final touches when necessary. In other words, some of the comics you see here are not how they appeared when originally published in the Gateway.


  • in 1999, I participated in my first collaborative work involving other cartoonists on the internet, the Great Internet Fright Night Special


  • April Fools Day 2000 was the next in line of cartoon swapping. I teamed up with a comic called Safari Sam, where I did his, and he did mine.


  • After I finished up with University, I still wanted to make the comic, and decided that updating once a week with greyscale pages was not prolific enough, so I decided to go full color starting September 2000. The descision mainly resulted from finally getting my own scanner & internet connection.


  • in the late fall of 2000, I had an unplanned hiatus in my publishing run in the student newspaper, the Gateway. A couple of my cartoonist peers (Mike Winters & Fish Griwkowsky) wanted to make sure that I knew my comic and I were still wanted at the paper, so they made up a comic telethon to show their appreciation.


  • As I still had a lot of free time on my hands, and I was finally getting people interested in my comic, I decided in January 2001 to increase my update schedule to twice a week. I also started thinking about retrofitting all my comics to color, but didn't actually start doing it until May 2001. After a while, I decided I didn't want to go through the effort of coloring all of the older comics, so I only colored the ones dating back to January 2000, which is approximately where I feel my artwork started to actually get "good".


  • During 2002, I made a switch from white to black backgrounds between the panels of the comic, as on the website they were usually displayed on a black background anyways, so the black on black just worked better. I'd say the main reason I did it was because of this comic, which just wouldn't have looked as good with all of the white space. I liked how it looked, as did the readers, so I kept it.


  • I believe it was September of 2002 when I tried to make a Flash comic. I say "try" because it wasn't really a comic per se, but rather a bunch of text exposition. I'm not sure I'll make more Flash animations, but it was a neat experience.


  • In January 2003, I decided to embark on an ambitious project. I was never fully happy with the "recoloring" I had done to the older comics (see above), because the job I had done was rather quick and shoddy. Also, as I had made the switch from white borders to black, all of my old comics didn't sync up to the newer ones. Thus began the "Archive Redux" project, where I would go through all the colored archive comics and completely redo them. That included adding final touches to the older comics (such as background details), and switching to my standardized palette of colors, thus improving them as a whole. Also, the PNG compression was able to significantly reduce the overall file size of the archive. A win-win situation if there ever was one.


  • Early in 2003, I started trying something different with my backgrounds for a particular story. I decided to really try making an environment that looked three dimensional, so I used my clunky graphics programs to warp background tiles using perspective. I'm really pleased with how it turned out, especially once I got used to the methods I needed to use.


  • 2003 and 2004 saw my attempts at doing comics not centered in my Deathworld universe. Fright Night 5 had a morbid little tale, and featured characters from "outside" of Deathworld trying to get "in". Fright Night 6 was completely free of Deathworld influence (well, besides my own natural proclivity for Lovecraftian yarns)


  • Every once in a while, I like to experiment with how I present my comic stories to the world. On occasion, I've used Flash comics, other times I've told the story through flashbacks. There have been a number of instances where I've use 3-D modelling software to make character avatars, rather than drawing by hand. I've played with the infinite canvas technique, I've had a comic with panels appearing in a random order, and I've even attempted to use text expositions in a subtle way. Why do I do all of this? Mainly to try and stretch my artistic muscles, so I don't get bored with the stories I tell.


  • In 2009 I took a break from making comics. Basically, I was not happy with how the story was progressing, but couldn't see a way out. After a few months, I started trying out different art styles and when the 24 Hour Comic Challenge came along that year, I decided to restart the comic by ditching all the uncomfortable "drama" storytelling and stick with the ridiculous premises I was coming up with. I went with the "super-deformed" (aka Chibi) style both as a way to visually represent my new take on my comic world, and to help reduce the time it took to make each page (in theory at any rate - it still takes just as long as it did before my break, but i'm much happier about it now).

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