William Montgomery Website Design: The Memphis Strangler

The fun started when I stopped treating the nicknames as copy and started treating them as characters. William already had three ridiculous entrances. I gave each one its own room.

The Memphis Strangler gets acid green, ransom-note lettering, and an unsettling tiled corridor. The Big Red Machine gets red, mechanical armor, and Japanese anime-inspired type. The Vanilla Gorilla gets purple, a cream gorilla suit, and big rounded letters. Same comedian. Very different wardrobe budget.

Then I took the idea past the hero. Choose a nickname and the accent colors follow you down the page: buttons, social boxes, and parts of the logo change with it. The logo’s red hair stays red. The torn-paper edges pick up the adjoining section color, so the whole page feels like it belongs to the character you picked.

That was the part I enjoyed most: making the site feel like it is in on the joke. The portraits, strange environments, and mismatched typography get to have fun, while the show dates and ticket links remain easy to find. You can play with the personalities without losing your place.

I used AI to create the character portraits and environments, then worked through the details: William’s receding hairline, auburn beard, facial likeness, costumes, framing, and the white cutout outlines. These are disclosed as AI-generated fan artwork.

The design work was bringing those images into one system. Each character has a different type treatment, but the same page structure, paper tears, and clear route to the shows. Champion Gothic carries the display typography; Space Grotesk keeps the longer copy readable.

The page brings together a biography, William’s connection to Kill Tony, upcoming dates, videos, podcast links, social profiles, and Cameo. Show listings refresh from Punchup’s public data, with a saved schedule as a fallback.

Ticket buttons return fans to William’s Punchup page for current availability and booking. The fan site does not sell tickets or process payments.

The hero has manual controls and swipe support, so visitors choose when the character changes. The mobile layout keeps the names, portraits, and ticket links readable without horizontal scrolling.

The scene backgrounds were converted from roughly 6.1 MB of PNGs to about 319 KB of WebP files combined. The first scene loads early; the other backgrounds load after the initial page resources. That reduces the image payload by about 95% while retaining the subtle texture.

Page copy connects William Montgomery with all three nicknames. Descriptive image filenames and alt text, canonical metadata, structured data, a sitemap, and a three-character social share image give the site a clear identity outside the page itself.

Those are implementation details, not a claim of search rankings or increased ticket sales. This project demonstrates my creative direction, AI image direction, and website design through something I wanted to make.

This is a self-initiated Envisionary Design project made out of appreciation for William’s comedy. William Montgomery did not commission it. It is not his official website and is not affiliated with, sponsored by, or endorsed by him or his representatives.

His three nicknames and Kill Tony connection are documented in his published Ticketmaster biography. Artist names, photographs, and linked content remain the property of their respective owners.