Zappit
Staff member
Okay - (audibly cracks knuckles) - here's an honest critique.
Your comic has a traditional visual style obviously influenced by Bill Keane and Bill Watterson; nothing wrong with that and I can't suggest any changes.
Now, as for the writing...well, there is room for improvement. Your characters are taking the loss of the mother/wife WAY too well, and it comes off as hokey and disingenuous despite your intentions. There's sweet and saccharine, but this could give a reader diabetes. Add a dose of realism. Losing a loved one is sad, frustrating, depressing. If you want to address this, add a dose of realism and show those emotions. There's still plenty of room for humor there, most of it bittersweet, of course.
It can be anything - the father struggling to adapt - picking up responsibilities that the mother handled, an overenthusiastic school psychologist that completely misses the mark, a single neighbor with eyes for the father...if you use ancillary characters to provide the more "edgy" work, you can preserve the innocence of the main cast. Those suggestions are all realistic possibilities that go along with the kind of situation you're addressing, but it doesn't dumb it down and it doesn't pander, which does kind of seem to be what you're doing right now.
Your comic has a traditional visual style obviously influenced by Bill Keane and Bill Watterson; nothing wrong with that and I can't suggest any changes.
Now, as for the writing...well, there is room for improvement. Your characters are taking the loss of the mother/wife WAY too well, and it comes off as hokey and disingenuous despite your intentions. There's sweet and saccharine, but this could give a reader diabetes. Add a dose of realism. Losing a loved one is sad, frustrating, depressing. If you want to address this, add a dose of realism and show those emotions. There's still plenty of room for humor there, most of it bittersweet, of course.
It can be anything - the father struggling to adapt - picking up responsibilities that the mother handled, an overenthusiastic school psychologist that completely misses the mark, a single neighbor with eyes for the father...if you use ancillary characters to provide the more "edgy" work, you can preserve the innocence of the main cast. Those suggestions are all realistic possibilities that go along with the kind of situation you're addressing, but it doesn't dumb it down and it doesn't pander, which does kind of seem to be what you're doing right now.