True, it does take some editing to make a good story. When I started Singmire Haze, I just wanted to start a comic and get it going. Do something with my life, basically. I created two main characters with their own problems — one is a jobless social recluse in need for love, the other looks like a child despite not being one — and I got going from this point, building the plot as I drew pages.

New characters appeared, events started to form and connect, I started to dig and go deeper… But after 2 years and 150 pages done (wow), the need to revamp the beginning clearly appeared. While the whole “restarting the series over and over” is a loop in which many comic authors can fall, I feel that revamping my series was a good choice and experience. As I got to redo the art, I got the chance to fix some parts of the story as well, and see how much I’ve improved in only two years. In this regard, it’s taught me a LOT.

However, for the second series I’ve started more recently, Consuming Darkness, the story is already entirely mapped out (through many spreadsheets and Docs, thank Google Drive) and I’m editing it with my partner in crime and love, so the comic we create can already be the best we have to give at this time of our lives, with our level of skill and experience.

As an additional perk, Singmire Haze earned a very specific atmosphere from its spontaneous workflow, and is often described as truly unique. In fact, even I have issues to describe it, and think it was best summed by a reader of mine:

“It’s adorable and fun but also serious and about important things. The style is so special as well. I just love it.”

Consuming Darkness also got its uniqueness, which I believe comes from the synergy between my co-writer and myself, and is, in a sense, closer to the uniqueness of a work like Rickety Stitch and the Gelatinous Goo by Ben and James.