the ramble dump
Friday, October 13, 2006
Some Good, Old Fashioned Silliness
Back all those many years ago in 2003 when I decided 'I want to write humour', it quickly developed into a marathon of ridiculousness, which escalated millionfold. Funny equalled absurd. Overarching plot was not a main concern.
These days, it's no longer a case of 'I want to write humour'. It's back to, 'I want to write a good story', in which, when I can manage it, humour in whatever form (be it through parody, satire, irony, surreality or whatever) is just another layer in the whole thing. Sure, the end product could have any one of those things (and that whole period of seeking to write in that way definitely made a lasting impression on my whole writing style), but they're not ends I specifically aim for.
Some of my older online stuff (i.e. pre-FMIT) really was just me being as weird, surreal or downright silly as I could get it. The best example of this is most definitely the collaborative effort Agaffa, which had a minimal plot that was really quite hard to follow, and chronicled the exploits of two pretty horrific characters with other things happening mostly as vague background noise. Although Cholesterol the fat, talking monkey will forever have a place in my heart. And then there's The Manifesting Surreal, the previous incarnation of the current Aberration, the premise of which was quite simply as the name suggests: things got weirder and weirder until everything started to fall apart.
These days, as I said before, it's a little bit different. A greater focus on story (or at least on more tangible ideas rather than just a load of random stuff thrown together) has also meant that, in an unintentional sort of way, the stories are slightly more... grounded. Probably just as surreal and odd, but in a less overtly and forcefully outrageous way.
Over the years, The Aberration has changed. Starcustard started out with a tongue-in-cheek feel to it that is still evident, but turned out quite different to anything we would have expected. City of Anarchy is still weird, but the focus is now what has grown into a fairly complex plot.
But, see, now there's Jesnails. Which will be parody, satire, surreality, irony, absurdity and, quite frankly, as much crazy stuff as the concept allows while still being coherent enough not to fall apart. We would be lying if we said we weren't, at this point, here to present the profoundly silly, freakish and bizarre in the most flamboyant and shameless way possible.
So it's all very well for me to say that I've moved on from all that silliness, and I can talk about big concepts, ideas, themes and thoughts until the cows return from their trip to the moon, but really I haven't moved away from it at all. Jesnails is a refreshing reminder of that. And it is something still present in everything I do, reminding me never to take things too seriously, because some things just aren't worth taking seriously.
Jesnails 1875, Part I.
These days, it's no longer a case of 'I want to write humour'. It's back to, 'I want to write a good story', in which, when I can manage it, humour in whatever form (be it through parody, satire, irony, surreality or whatever) is just another layer in the whole thing. Sure, the end product could have any one of those things (and that whole period of seeking to write in that way definitely made a lasting impression on my whole writing style), but they're not ends I specifically aim for.
Some of my older online stuff (i.e. pre-FMIT) really was just me being as weird, surreal or downright silly as I could get it. The best example of this is most definitely the collaborative effort Agaffa, which had a minimal plot that was really quite hard to follow, and chronicled the exploits of two pretty horrific characters with other things happening mostly as vague background noise. Although Cholesterol the fat, talking monkey will forever have a place in my heart. And then there's The Manifesting Surreal, the previous incarnation of the current Aberration, the premise of which was quite simply as the name suggests: things got weirder and weirder until everything started to fall apart.
These days, as I said before, it's a little bit different. A greater focus on story (or at least on more tangible ideas rather than just a load of random stuff thrown together) has also meant that, in an unintentional sort of way, the stories are slightly more... grounded. Probably just as surreal and odd, but in a less overtly and forcefully outrageous way.
Over the years, The Aberration has changed. Starcustard started out with a tongue-in-cheek feel to it that is still evident, but turned out quite different to anything we would have expected. City of Anarchy is still weird, but the focus is now what has grown into a fairly complex plot.
But, see, now there's Jesnails. Which will be parody, satire, surreality, irony, absurdity and, quite frankly, as much crazy stuff as the concept allows while still being coherent enough not to fall apart. We would be lying if we said we weren't, at this point, here to present the profoundly silly, freakish and bizarre in the most flamboyant and shameless way possible.
So it's all very well for me to say that I've moved on from all that silliness, and I can talk about big concepts, ideas, themes and thoughts until the cows return from their trip to the moon, but really I haven't moved away from it at all. Jesnails is a refreshing reminder of that. And it is something still present in everything I do, reminding me never to take things too seriously, because some things just aren't worth taking seriously.
Jesnails 1875, Part I.
Labels: agaffa, city of anarchy, i am the ramblemaster, jesnails, starcustard, the aberration
