Mutant Mail-Box

Published on by Charlie Boatner.

 

I received an nice comment here last month from an old friend:

"I have been enjoying Charlie's humor for over a half century now; his current series (Bureau of Beasties) adds bureaucratic (both corporate and government) humor to his usual spoofing of super hero comics as well as honoring comics (both strips and books) of the past. I am glad that he keeps doing this as we all need a light break from reality to maintain our sanity (or, in my case, what is left of it)."

Back in High School, Mark and I collaborated on zines parodying the X-Men. Those were good times. When designing the character visuals, I used some stock characters that you can see I'm still using today. The Marvel Girl parody was the first appearance of the "cartoony young woman" design behind Mermsy.

These are new drawings because the zines were printed on spirit duplicator and might not digitize well. Pictured: the GP-Men: Professor Xorn, the Eldil, Beste, Mr. Frosty, and Baffle Girl. (Four Eyes not shown.)

 


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Guest Art

Published on by Charlie Boatner.

 
 

Patrick Sinnott drew this handsome commission of Doctor Kalakaperi, IT Specialist (or maybe “it” specialist) for the Bureau.  He has a wonderful fantasy webstrip, also, at https://www.inkandrubbish.com/LaxLegends/ about a conflicted knight and a zombie.  And beautiful monsters on his Instagram https://www.instagram.com/hence_boog/ .

Dr. K was supposed to be inspired by the alien pfifltrigg from C.S. Lewis’ SF novel, Out of the Silent Planet.  Although I skipped the insectoid aspects and ended up with something more like a bandicoot.  https://www.bureauofbeasties.com/comic/2022/3/1/it-specialist If you google ‘pfifltrigg’ images, you’ll see some more unsettling interpretations.



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Man versus Machine!

Published on by Charlie Boatner.

All us artists and writers are up in arms about AI.  Can it replace us?  Should it replace us?  Why are we afraid that the audience won’t be able to tell the difference?

 I took the challenge and asked ChatGPT to write an episode of my web comic strip.  I typed in a three-sentence instruction, then, after reading the resulting script, a one-sentence amendment.  Then I drew it up the output. 

 You can see the completed strip in the Archives under the title “Artificial Inspiration” or here or formatted for phone.  My chat process with Chatty is below.

 The verdict?  I don’t feel threatened yet, although Chatty produced one sight-gag that I liked. 

What do you think?

THE PROCESS

Me:

This is for a short comic strip. A mermaid riding a Segway and a cute, talking furry creature are walking together to the Federal office building where they work, after some time away. Write something funny that happens.

ChatGPT:

Panel 1:

[The comic strip opens with a picturesque underwater scene. A vibrant coral reef serves as the backdrop as the mermaid, named Marina, is seen gracefully riding a Segway designed to work underwater. Her friend, a fluffy and adorable creature named Fluffpaw, walks beside her, their excitement palpable.]

Marina (thought bubble): Finally, back to work after that long vacation!

Fluffpaw (excitedly): Marina, I can't believe we're riding this cool contraption!

Panel 2:

[As Marina and Fluffpaw continue their journey, they approach a signpost pointing towards the Federal office building. It's adorned with underwater-themed decorations.]

Signpost (in bubbly letters): "Welcome Back to the Deep Office!"

Marina: We've got a lot of catching up to do, Fluffpaw!

Fluffpaw (clutching a tiny briefcase): And I've got my pawprint stamp ready for some serious paperwork action!

Panel 3:

[A playful and mischievous dolphin swims by, causing a gentle current in the water. Marina struggles to maintain her balance on the Segway, while Fluffpaw clings onto her with a surprised expression.]

Marina (trying to stay steady): Whoa, hold on, Fluffpaw! Dolphin-induced turbulence!

Fluffpaw (giggling): Wheee! This is like the aquatic version of a roller coaster!

Panel 4:

[Marina regains control of the Segway, while Fluffpaw looks a bit disheveled.]

Marina (grinning): Note to self: Dolphin zone is like our underwater amusement park!

Fluffpaw (fur slightly ruffled): I think I left my fur on that last loop-de-loop.

Panel 5:

[They arrive at the Federal office building, which is a stunning structure made from vibrant coral and seashells. A group of sea creatures in business attire are entering.]

Marina: Here we are, Fluffpaw – back to work!

Fluffpaw: Ready to tackle bureaucracy with a splash, Marina!

Panel 6:

[As Marina and Fluffpaw head inside, they pass a group of chatty seahorses.]

Seahorse 1 (whispering): Did you hear about the mermaid who surfed a Segway? That's some next-level commuting!

Seahorse 2 (chuckling): And her furball friend is quite the adventurous sidekick!

[Marina and Fluffpaw continue walking, unaware of their newfound office fame.]

End:

[The comic strip ends with Marina and Fluffpaw stepping into the bustling office, their camaraderie and enthusiasm setting the tone for a quirky and exciting day ahead.]

Text at the bottom: "Back to the Deep Office: Where Work and Whimsy Collide!"

Me:

Repeat premise, except in four panels, with the office building in a city on the surface.

ChatGPT:

Panel 1:

[The comic strip opens in a bustling surface city with skyscrapers reaching for the sky. Marina, the mermaid, is now riding a Segway adapted for land use. Fluffpaw, the cute furry creature, walks alongside her on the sidewalk.]

Marina (thought bubble): Time to get back to work in the city after that vacation!

Fluffpaw (excitedly): Marina, this Segway thing is way cooler than I thought!

Panel 2:

[Marina and Fluffpaw approach a busy street corner, where a pedestrian crossing sign shows a mermaid crossing with a Segway.]

Signpost (in bold letters): "Mermaids and Segways Have the Right of Way!"

Marina: We've got a lot of office catch-up to do, Fluffpaw!

Fluffpaw (holding a mini briefcase): And I've got my fur looking fabulous for the professional world!

Panel 3:

[A mischievous dog on a leash suddenly darts across the street, startling Marina. She loses her balance on the Segway, while Fluffpaw clings to her with a startled expression.]

Marina (struggling to stay upright): Whoa, hang on, Fluffpaw! Unexpected canine chaos!

Fluffpaw (laughing): This is like a wild ride at the pet-friendly amusement park!

Panel 4:

[Marina regains her balance, and Fluffpaw looks a bit ruffled but still cheerful.]

Marina (smirking): Note to self: Watch out for crosswalk canines!

Fluffpaw (fur slightly askew): I think I left some fur behind in that furry frenzy.

End:

[They arrive at the Federal office building, a towering structure in the city's business district.]

Marina: Here we are, Fluffpaw – back to the city grind!

Fluffpaw: Ready to tackle the urban jungle alongside you, Marina!

Text at the bottom: "Back to the Urban Office: Where Work and Whimsy Collide!"



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Warning, Warning

Published on by Charlie Boatner.

This short-short story was printed in a small newsprint zine several years back. The author went on to win several awards in science fiction (but not for this, ingenious as it is). I figure that one good use of my blog is to post things that deserve a life on the internet.

Warning, Warning by Allen M. Steele

The first interstellar expedition was doomed from the beginning.

Not because of inadequate technology--the starship itself, an elegantly designed saucer-shaped craft, used a revolutionary hyperdrive as its main propulsion system--but because of lack of forethought. Yet the mission planners were so intent upon colonizing an Earth-like planet which lunar-based telescopes had discovered, against all odds, in orbit around Alpha Centauri that they didn't take into consideration all the variables.

First, there was the foolishness of sending forth a single family. Someone failed to read J. B. Birdsell's paper, "Biological Dimensions of Small, Founding Populations" (Interstellar Migration and the Human Experience, University of California Press, 1985) which postulated, with considerable evidence gained from the observation of isolated third-world populations, that a group of at least one hundred people was necessary for the formation of a healthy, self-sustaining colony. Yet the starship had been built to carry only six passengers, who would be sealed within cryogenic freezing tubes during the four-and-a-half years it would take the vessel to reach its destination. Budget cutbacks were cited as reason for the fact the ship wasn't made bigger, yet the mission planners could have selected a biologically diverse crew. Three single men and three single women, perhaps, or even three married couples. A family of five, plus one unattached male, may have been psychologically stable, yet it also severely limited the available gene pool. A lot of crude jokes were made about the possible parings among the three children and the ship's pilot.

But that wasn't the worst of it. A saboteur hired by a hostile nation—Iraq? North Korea? Libya? to this day, no one knows for sure—had managed to become a member of the launch support team; indeed, he was the doctor who gave the crew its preflight physical just before launch. Shortly before the starship left Earth, the doctor successfully penetrated the security cordon surrounding the launch pad and entered the spacecraft. A guard discovered him within the ship, but the doctor killed him; his body was later discovered in a dumpster near the pad. The doctor then reprogrammed the ship's environmental control robot to destroy its major systems six hours after launch.

It should have been a perfect crime, yet the saboteur's luck ran out when he was caught aboard at liftoff. Panic-stricken, he revived the family and the pilot from suspended animation, but not before the robot severely damaged the inertial guidance system and destroyed the radio transmitter. The starship's hyperdrive, now wildly out of control, propelled the vessel out of the solar system; no one aboard was sure what happened next, but somehow the vessel caused a wormhole to form, and suddenly they found themselves in another part of the galaxy.

It was only merciful intervention on the part of the family matriarch which prevented the pilot from jettisoning the doctor from the airlock, yet the saboteur—clearly mentally unstable from the beginning, and now a full-blown paranoid-schizophrenic—attempted twice to kill members of the crew before the ship was forced to crash-land on a desert planet.

The members of the expedition tried to make the best of their dire situation. The youngest child, who was something of a prodigy despite his youth, restored the robot's original programming so that it was no longer homicidal. Meanwhile his father and the pilot explored the area surrounding the crash site, and his mother and two older sisters successfully set up a base camp. For a time, they gained the semblance of a model nuclear family, and soon they undertook the task of making their ship flightworthy once more.

Yet the doctor had become increasingly psychotic. When he wasn't talking aloud to the robot or hoarding food rations, he was still scheming to murder various members of the expedition (save for the boy, upon whom he seemed to have an unhealthy fixation). Soon it became too much for

them to bear. After a whispered Conference with the father, the pilot drew a laser pistol from the ship's weapons locker, escorted their unwanted guest a couple of miles from the base camp and, behind the shelter of a large boulder, shot him dead. The doctor was buried in an shallow, unmarked grave; to the end, no one knew if the name he had given them was his real one.

The execution of the doctor, albeit necessary, nonetheless had a bad effect upon morale. Until this point, the older daughter had been attracted to the pilot, which had been anticipated by the mission planners and condoned by her parents. Afterwards, she became increasingly aloof, not only from the pilot (who in turn became frustrated when his advances were coldly rebuffed) but also her family. She was the next to die, when a sudden earthquake dislodged a massive boulder and caused it to roll a steep escarpment beneath which she happened to be standing.

The pilot was the sole witness to her death; in the weeks that followed, he fell into a state of acute depression which left him sullen and unwary. Nearly a month later, one of the sixty-foot-tall cyclopean giants who prowled a nearby valley found him while he was tending to a remote weather platform. His remains were discovered the following day, or at least those which hadn't been devoured.

Struggling against shock and grief, the rest of the family redoubled their efforts to repair the starship, yet the odds had turned against them. The alien world, so Earth-like at first glance, had gradually revealed itself to be unrelentingly hostile, and they were woefully unprepared for its abrupt climatic shifts and bizarre life forms

Yet it was human error which killed the younger daughter. Her brother hand-built a SOS rocket that he planned to launch into space. Just whom it was supposed to attract is an unfathomable question, considering that the planet lay some uncalculated distance from Earth; the fact that his father allowed him to proceed with this project in the first place is an indication of their desperation. Yet shortly after launch, the rocket exploded in the high atmosphere and fell back into the camp as a fireball; although the boy survived its impact, his sister was incinerated.

The boy went into catatonic shock; refusing to speak, refusing to eat, he could only stare straight ahead with blank, dead eyes. His parents decided to return him to cryogenic suspension. Two of his siblings had perished already, and now they feared for the life of their youngest child. So they dressed him again in his silver-foil spacesuit, and placed him in one of the freezing tubes within the ship. This was a wise decision, for it was only three days later that they were caught in a freak electrical storm caused by the planet's erratic climate. They were attempting to cover the small hydroponic farm when lightning struck the metal tarp pole the father happened to be holding at that moment. He was killed instantly.

In the end, the mother fought a solitary battle to preserve what little was left of her family. With the assistance of the robot, she managed to get the starship back to operational condition; although the hyperdrive was never completely restored to warp capability, it could attain a maximum velocity of .75 light speed. Yet when the time came for her to leave the nameless planet upon which she had been marooned, she found herself unwilling to leave her husband and two daughters. Perhaps this was misplaced loyalty, or perhaps she had simply gone insane herself. Most likely she believed that the expedition had been jinxed from the beginning, and that by remaining behind she would remove the curse.

Whatever the reason, she programmed the robot to launch the starship back into space. When the starship lifted off, she was huddled beneath a flimsy tent near the family graveyard, watching as the saucer rose into the monochrome sky. A brave, strong-willed woman, she managed to survive for three more months before she succumbed to starvation.

Once the ship was in space once more, the robot plotted a return trajectory to Earth, based upon star charts and data from the ship's onboard computers. That task took nearly two hours; it's possible that the robot could have done the same job earlier, while the ship was still near Earth, had the doctor not fouled its programming. Yet a job done late is better than a job never done, and once the return course was set, the robot returned to its bay on the vessel lower level, from which it would periodically emerge, once every six months, to check the ship's status during its voyage home.

It was destined to be a long trip. The starship had crashed on a planet in orbit around 70 Virginis, located nearly 59 light-years from Earth. Even a maximum velocity, it would take the ship nearly a century for it to complete its journey.

Within a cryogenic tube on the ship's upper level, the sole surviving member of Earth's first interstellar expedition remained an eternal child. In a perpetual state of REM dream-sleep, his subconscious mind evoked surreal fantasies in which his family, along with the pilot and the doctor, were not only alive and well, but also having spectacular adventures. Lacked in suspended animation, he encountered extraterrestrial circuses and intergalactic traders, space hippies and space bikers, frog-headed princes and carrot men and mouthless invaders from the fifth dimension, all utterly strange yet comforting in their simplicity. And through all this, his family was always with him: his sisters ageless and beautiful, his mother kindly and forgiving, and his father handsome and brave. The robot sang and cracked jokes, and the doctor became his guardian and best friend.

The dreams of a young boy, lost in space.

Photo from NASA



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All of the other reindeer...

Published on by Charlie Boatner.

I have sold out! In a nod to familiar, low-hanging popular culture, the Snoof is visiting the North Pole, home of Santa’s workshop. If you’ve been hesitating to send a link to friends with kids, recommending the Bureau, now is the time.

Our hero meets Donner and Vixen and other reindeer, but you won’t see Rudolph. As the Public Doman Super Heroes web site (https://pdsh.fandom.com) explains, “Rudolph the Red-Nosed Reindeer was created in 1939 by Robert L. May and his first appearance was renewed in its 28th year, meaning the name ‘Rudolph the Red-Nosed Reindeer’ cannot be used without permission.” I don’t want to be sued by the family of that fine copywriter for Montgomery Ward who first wrote the story (and regained the rights).

The original eight, popularized by Clement Clarke Moore’s poem, are in the public domain.



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Discussion with Jim Steranko

Published on by Charlie Boatner.

The place was an occurrence of the San Diego Comics Convention. I was an aspiring comics writer and had just graduated from the University of California at Santa Cruz by writing a senior thesis/essay about Appreciating Comics. A good part of the essay involved analyzing comics stories—studying the art and finding symbols in. the pictures and colors and shapes—combining the sym­bols into themes (as inspired by author and film instruc­tor Janey Place).  I wrote that sometimes the themes in the art are consistent with the story told in the words; sometimes not.

I was still bubbling with these ideas when I ran into Jim Steranko, ground-breaking writer/artist and publisher, in the Dealers’ Room. As we talked, Steranko became in­terested and wondered what visual analysis would reveal in two of his stories “At the Stroke of Midnight” and “Today Earth Died!”

Mark Clegg, a fellow UCSC alumni, creative collaborator and comics scholar, helped me scour the Dealers’ Room for copies of Tower of Shadows #1 and Strange Tales #168 (both published by Marvel Comics) and I spent the evening in our hotel room staring at those two stories and scribbling notes.

From “At the Stroke of Midnight” I came up with a theme involving objects becoming alive, living things be­coming objects, and how the two get mixed. (My thoughts on “Today Earth Died” may be lost to history.)  Armed with these ideas, I found Steranko in the Dealers’ Room again the next day and we started talking. The conversation was genial and lively, but bumpy, as we had different agendas.

In 1983, Mark published an innovative comics anthology called Dragon’s Teeth.  He transcribed part of the conversation from a cassette tape to create a text piece for the anthology.  That transcription is what follows…

 

JIM STERANKO: I wanted the readers to concentrate on the story, not on the graphic effects and things that I usually did, like on the Captain America strips and Nick Fury, Agent of S.H.I.E.L.D., where all that "zap art" was very distracting. The story hardly mattered, the art was the star. Here the story was the star; the story was the main thing. The art was not too distracting although I did have a number of—let's call them effects--but I don't think they distracted from the story. I drew in a photo­graphic style because I wanted the reader to believe this was the real thing, not just cartoon figures. You see they are very important in it.

CHARLIE BOATNER: The characters are turned into objects by the stroboscopic effect. [Page 2/panels 1-4]

STERANKO: No, it's not a strobe effect. It's simply that the size of a panel is equated with the length of a shot, cinematically. Although this wouldn't be three separate shots, it would be one. I was trying to get a re­petitious kind of an effect. I'm trying to develop characterization in the size of the panels.

BOATNER: Of course, I realize I'm reading things in. I felt in a way that was my job.

STERANKO: Oh yes, you're right.

BOATNER: The thing about a strobe is you have drawn someone frozen—the life is taken out of them. They're turned into just jerky images.

Of course, these stories are almost always some kind of retribution thing—the characters have killed someone, taken the life out of someone else so this is happening to them.

In the meantime the house is taking on a life and taking on imminence. In my thesis, I said that most comics do an incredible amount of emphasis on human­ity, on the characters. In this story you go against that. For instance, in this sequence [2/7-9] ,you got the people receding and the background becoming larger. The people are practically gone in favor of stairways, racks, shadows. The door dwarfs them. Even the words reaffirm the house becoming a character. "The flickering play of shadows made the very walls seem to come alive" and in the panel underneath you have tiny characters and a large illustration of the house.

Page 2/panels 5 to 10, the house becomes a character

Page 2/panels 5 to 10, the house becomes a character

STERANKO: Well, that's true. Especially that shot. That bird right up front. You're trying to say that that house possesses a life of its own.

BOATNER: Right, and visually that's done very well. Here is a little more of the house taking center stage [4/4-7] . This strip is great, panel by panel.

STERANKO: Yes, it begins to take on life forms. I mean, everything is carved into live figures. It's meant to have a kind of life of its own.

BOATNER: Here, the objects take center stage, and seem to lock her in there. The panel border pins her like a butterfly [5/8,9].

STERANKO: Yeah, I wanted to get a kind of Vertigo, a tracking shot like Hitchcock does.

BOATNER: There's also a kind of Rope effect in here.

STERANKO: Yes, yes there is.

BOATNER: Where you start a little bit open, then every­thing starts narrowing in; people are crammed into the panels.

  [A passerby joins the conversation briefly]

UNKNOWN: Even when the story was transformed for reproduction in a black and white magazine it wasn't exactly black and white.

STERANKO: Well, I think what we did was reproduce from stats.

UNKNOWN: Yeah, well I meant...

STERANKO: It was designed for color, it was meant to have color. I put the zip in, in the black and white version, in the magazine version. I preferred the color because I was able to do symbolic psychological things. Like, when I wanted real anger, I'd punch in a red panel [5/2], which, like here, is not very subtle, but then people don't think of those things.

UNKNOWN: You can have color with black and white beside it. The black and white really stands out because you can have zip on the wall and then black and white beside it.

STERANKO: That's why I did this, because I wanted all emphasis to be on the door, so I even knocked out all color on the people [5/4]. I mean, the door was the alive thing, that's the one that had the color. That's the kind of thing you're talking about.

Page 5/panels 2 to 6, color effects

Page 5/panels 2 to 6, color effects

BOATNER: And I like the objects through this that seem to be in middle life; things that were alive that are now objects: the raven, the skull, the frog.

STERANKO: This door is based on a Wendall Wetherland design [5/8]. It's positively alive unto itself. You wouldn't like to see that door at night, by itself.

BOATNER: No, no thanks.

STERANKO: Though it's not really a face, it's just leaves and other things.

BOATNER: So, the crime, having to do with objects, comes out on page six. We have here the memory which shows only a tiny silhouette, not very human [6/11]. Here we have a piece of wheel chair which is identified with a person [6/9]. And this was all in the name of money; taking life away from a person, then giving life or importance to these objects. This is even punched up about later in the dialogue, "losing their heads over money that way."

STERANKO:  I wonder if I wrote that or Stan wrote that. I'm not sure which of us wrote that. We missed the panel…oh yeah, here it is, this page. I was trying to make it look like this was a real human being here. By the way, this was filmed—this entire story was put on film. John Carradine is the old man and this guy was John Fiedler, you know him?

BOATNER: No, I don't.

STERANKO: You ever see the movie 12 Angry Men? Courtroom drama. John Fiedler is this very mousey guy and he played that.

BOATNER: Right, right, of course.

Of course the old man is the other creature between life and death. Here you have a portrait that is alive of a man who was once dead. Here is a very interesting em­phasis—if you have a choice of something to scream at—the old man (of course he is frightening because he might be a ghost) or the guillotine (which I would think they're actually afraid of)—it is him which causes the terror [7/1-4].

STERANKO: No, it isn't really. What they're afraid of is not the old man and not the guillotine, which sort of compounds the fear, but the fact that at the very end he raises his hand and points at them.

BOATNER: Just like in the painting?

STERANKO: Just like in the painting.

BOATNER: Okay, now, on the subject of characteriza­tion: You create a contradiction which is neat. In the dialogue you have this great conflict built up between the characters, as you say, between the mousey male and the dominating woman, and this is emphasized by their sizes (which seems clear enough, I wasn't even going to go into it). And yet nicely enough, visually, you contradict the conflict. I know in film language, when you want to show a division between people you show them separately in one-shots. [Mark Clegg notes: A "one-shot" has one character on the screen, a "two-shot" has two.] Your characters are shown most often together in two-shots which subtly marks them as two-of-a-kind, no matter how much they talk about how different they are. Here's a two-shot [2/7], here's another [3/10], and this is basically a two-shot if it wasn't for that panel line [3/8,9]. Even this, where he's wearing a sort of dark­ish coat and she's wearing a very light coat—this match works to cast his coat in practically the same color as hers which once again shows them for the same sort of person [3/10].

STERANKO: There's also like engulfing black, a very ominous somber feeling.

BOATNER: Right, and he's got this light lightening him up like he's on a police line-up [3/2,4]. So where he's talking like he certainly loved his uncle, this light is point­ing out his guilt.  I don't know what this is for symbolically, but I love the way this shows the match going out [3/11-13].

Page 3/panels 1 to 9, one-shots

Page 3/panels 1 to 9, one-shots

STERANKO: I like this story. It had a lot of interesting things. It looks especially pleasing from this concept. Very subtle things for comics. I doubt if one out of a hundred readers really saw that figure and began to understand it.

BOATNER: Why are comics so often unsubtle?

STERANKO: Oh, because the market is the 10 year old.

BOATNER: Yet you can do layering of meaning. I ex­pect a 10 year old would enjoy this also.

STERANKO: I did that with my SHIELD books. I con­sciously drew it on three levels. One for 7 year olds who didn't really care for reading and just wanted to look at the pictures, who could understand the story because of the pictures. I did it on another level for, say the 13 year old, who liked wild adventure and read it and this was just fantastic stuff. Then I did it for the 17 year old as satire. You know, I tried to fill all three functions.

BOATNER: It seems it should be possible. A good story should appeal to everybody.

STERANKO: When I do a story, my basic philosophy is that you can forget the story after you've read it. Forget the characters. Forget the plot. What I want to remain is the impact of the feeling of the story. You put it down and say "I was really moved by that story." I want you to remember the emotion, the impact that comes out of all the images and words. Forget the rest. If you do that I think you've got something there. It's like coming out of a theater after you've seen something like Star Wars or a film like It's a Wonderful Life by Frank Capra. I never want that film to end. I want it to go on. I know it's getting close to the three hour limit, I know it's got to end soon, but I don't want it to. I'm hoping, like, for a station break, and then it'll go on. That's the way I'd like my stories to be.

BOATNER: Oh, I forgot to mention this before when I was on the subject of the objects. It seems to happen a number of times in your work, the disembodied hand. You see who it belongs to, yet it goes around the panel so, like, his hand here almost becomes a candelabra or, or a gilt piece [4/1-3].

Page 4/panels 1 to 3, playing around with time

Page 4/panels 1 to 3, playing around with time

STERANKO: That's how I was tying this panel [4/1] with this one [4/3]. You see, this one had to do with the time reference of this one. This was real time [4/1] and this was real time [4/3], so by using the hand as a de­vice, like a kind of framing device, it brought this panel [4/2] back into real time. Otherwise it would have gone into flashback, and we would have stayed in flashback. This was a device to bring it back into real time.

BOATNER: It was a kind of traveling shot.

STERANKO: Exactly, that's exactly what it was. This early shot right here [2/1-4] also was meant to be a traveling shot, because, although this is one complete background, they don't appear four times. This is a time reference, then the camera travels with them up the stairs.

Like you just said, the match goes out but here the match that he's holding goes out as he's speaking [3/11-13].

BOATNER: Each time, the characters are shown to be basically interchangeable. Like here, these panels are re­ferenced to each other and the characters are drawn in the same sort of light. If it wasn't for the coloring and a little bit of hair you couldn't tell them apart.

STERANKO: Still, the color is telling you something. She's full of anger and hatred and he's very cowardly, very timid.

BOATNER: The best characterization has two things going on at once. Where you have the color and the dia­logue dividing them, you have position on the page and lighting bringing them together.

This is where you got the coming together and separation both at once, pushed to the extreme. You got the violence of their interaction and yet visually they're melded together, like...

STERANKO: Like they're all part of the same arms and legs [6/7].

BOATNER: Right. Then as a final shot you got, "Then they began to scream," yet it's one image and I think it's both of them [7/6].

Page 7/panel 6

Page 7/panel 6

STERANKO: Well, of course it is. You can't even tell here who it is. If it's the man or the woman. there's no telling.

BOATNER: Right, so they shared the guilt and now they're sharing the punishment.

STERANKO: There was one line of dialogue that was changed. I think Stan put that in. I think there was one other one. This is the story I left Marvel over on account of they did some stupid things. I wanted to call it "The Lurking Fear of Shadow House;" he wanted to call it "Let Them Eat Cake;" so we settled on "At the Stroke of Midnight" and they changed two lines.

BOATNER: I'd like to know what they would have been. That line, the one that you said was changed, is obvious­ly a "let's explain it to the kids" routine.

STERANKO: Yes, that wasn't in there at all. I'm not even sure that line was in there as they could see what was going on.



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Boredman interview

Published on by Charlie Boatner.

I became aware of the artist Boredman’s comics with Apocalyptic Horseplay on Webtoons .  The story starts out funny and colorful, with the four horsemen of the Apocalypse pictured as Saturday morning cartoon characters, but turns dark as they become tempted to fulfill their Biblical destiny -- today. (That's Pestilence, Famine, and War below.)

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Boredman is a French cartoonist. His work, while often quirky and colorful, is usually pretty goth in nature. Some people (him) claim he's some kind of cartoon himself, born on the wrong side of the page, while others (everybody else) say he watches too much TV and try to keep him away from sugar.

In this video he explains his working method, so I won’t need to ask him about that.

Charlie:  You live in France, which is interesting to us who don’t.  Have any of the places you’ve lived in influenced your art?

Boredman:  I live in Belgium, actually, but I am French. I'm from Paris originally, born and raised, but it wasn't until I moved to Belgium in my early 20s that I started dedicating my time to my art. I started attending the Brussels Saint-Luc School of Arts, majored in comic books, basically ate and breathed comics and cartoons for about four years while befriending a bunch of talented people to suck the skills and life-force out of, and ultimately decided to just live there.

I do occasionally miss France, but I don't think I could ever live in Paris again. Great for tourism, that city. But spend more than a summer in the midst of its indigenous population, and you will become a stressed-out, contemptuous and hollow husk of a being.

A city-vampire, of sorts.

Charlie:  You seem very fluent in English.

Boredman:  Thank you! I wish I could say I studied hard, but I really owe it all to the movies I watched growing up, which initially made for a very gap-y and superficial understanding of the language.

My pen name, for instance, was the product of a flawed attempt at bilingual humor. I meant it to be Boring-man, which in French can also signify Annoying or Bothersome. Basically, I wanted to be Bother-boy and couldn't even be bothered to double-check. Still, I came to enjoy that name.

Charlie:  Who are some artists that have inspired you?

Boredman:  Ouch, tough one. It's like picking your favorite toppings on a pizza... there's so much to choose from.

I think Stephen Silver, Jhonen Vasquez, Bruce Timm and Genndy Tartakovsky's style and designs had a strong impact on me when I was young, but it wasn't until I came across the works of Mike Mignola and Ted Naifeh that I became truly attracted to American comics.

I did grow up loving Bandes Dessinées before that, of course, so there's a myriad of French artists I also drew inspiration from, like Franquin, Boulet, Dav, Fabrice Parme and Eric Liberge to name just a few.

Charlie:  In a satiric autobiographic video, you show yourself marching back and forth in front of an art school.  How was the school experience?

Boredman:  Basically that. Lots of paper, lots of walking.

No seriously, it was pretty great. I thoroughly enjoyed these four years, even if most of what I learned in History and Philosophy classes quickly went out the window.

Mostly I was grateful for the opportunity to experiment. I was introduced to such a variety of tools and mediums, shown so many techniques and received so many useful tips to improve my work... It really is a shame I gravitated towards webcomics and ultimately dumped all of that good stuff.

Charlie:  Your illustrations include detailed and atmospheric buildings (especially impressive, considering you make them viewable on a cellphone).  How did you become interested in architecture?

Boredman:  I actually never realized I cared about buildings until after I moved out of Paris. Brussels really is a lovely city, but upon arrival, I immediately started longing for the Parisian architecture I had grown up with. That's when I started collecting photos of said buildings, and later bought art books about or just featuring them. Then I moved on to pictures of castles, cathedrals, and now boats.

I don't think I ever did them justice, tho. Time being a factor in webcomics, I try never to allocate too much of it on drawing detailed backgrounds or elaborate perspectives, but I still can't really tell my stories as effectively without showing where they take place.

Sometimes I just trace photos. You gotta cut corners.

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Charlie:  Apocalyptic Horseplay is sort-of a sequel to your earlier story, UndeadEd.  But Ed is a gag cartoon, while Horseplay is a graphic epic with a message.  How did you go from one to the other?

Boredman:  Backwards, you might say, since Apocalyptic Horseplay was already an old idea of mine when UndeadEd came along. I guess that's why Horseplay came loaded with a lot more ambition and intent than UndeadEd, which really was just a goof I wrote for the sake of my own sickening laughter.

Readers often asked if I'd planned on making both stories take place in the same world from the start, and the short answer is yes, but only because I tend to make all my stories coexist within the same universe and repurpose some of the characters. Couple of the backgrounds characters you see throughout Horseplay actually are from The Ripper, another webcomic I published on deviantART in 2011.

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Charlie:  Horseplay includes educational background features about history, mythology and the Bible.  Were these interests of yours that inspired your story or did you do research after you started drawing?

Boredman:  Bit of both, really. While I do enjoy mythology and all kinds of religious lore, I always was and remain an irredeemably abysmal student of history, so everything I included that wasn't already part of the common knowledge required extensive research.

Oh, and I already pretty much forgot it all, so yeah. Irredeemable.

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Charlie:  I love your color work.  Any tips for other cartoonists (like me)?

Boredman:  Thanks! That makes one of us then.

I always felt my color work was the weakest part of my game, which is why I often lean into color complements (red/green, blue/orange, purple/yellow, etc.) to create a balanced atmosphere.

I do recommend experimenting with that if one is looking to improve their coloring, and also to try and occasionally assign meaning to the colors you chose, so colors may better serve the story.

I have an entire video about that on my Patreon, if anyone's interested (and also rich).

Charlie:  How is your Patreon going? https://www.patreon.com/boredman

Boredman:  Honestly, a LOT more useful and gratifying than I ever would have guessed! I really wasn't expecting much when I first set it up, so you can imagine how much of my sh** I ended up losing when literally HUNDREDS of my readers signed up overnight. Their donations quickly allowed me to drop all my freelance work and dedicate myself solely to my comics. Also kept the lights and heat on during sick days and hiatuses.

Some people even increased their monthly donation when they found out I was getting married! How much more support and appreciation could I POSSIBLY have the AUDACITY to ask for? That's mainly why I had to come up with special rewards, like commissions, cameos, signed artbooks and original pages.

I would have included a "lick-your-feet-and-suck-your-****" tier, but Patreon has extremely narrow-minded policies.

Charlie:  You have a new project coming to Webtoons.

Boredman:  Indeedy-dude I do! It's called BlackSmith, it's a pirate story I've been wanting to tell for like five years, and it's scheduled to start in late October 2021!

I HAVEN'T SLEPT IN WEEKS.

Charlie:  Is BlackSmith a bigger or more intimate story than Horseplay?

Boredman:  Well, the main characters aren't physical manifestations of world-ending scourges, so it hardly compares, but it does have similar magnitude. The focus will obviously be on the main character's journey through the sickeningly heartless world of pirates and their attempt to hold onto their last shreds of humanity, but I'm also going to be giving a lot of importance to the antagonists, their struggles and the stakes of their respective societies. Also there's going to be demons.

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Charlie:  You have gotten many, many comments on Webtoons.  How do reader comments affect your work?

Boredman:  They entertain and galvanize me, and really help with my process sometimes.

Back when I was publishing UndeadEd, I became very attentive to people's expectations of the story, and even created entire arcs based on people's jokes and ideas. I wasn't as open to suggestion for Apocalyptic Horseplay, mainly because the story was heading in a very specific direction most people didn't and couldn't expect, but I was still interested in their theories on what was going to happen next. Those helped me make sure some events wouldn't come as too unexpected while others would still manage to blow their fragile and adorably unsuspecting little minds.

Charlie:  Will readers see BlackSmith as the next step in a progression that started with UndeadEd (or your earlier work on deviantART)?

Boredman:  Not really, no. This time, I aim to make something entirely new, set in a totally separate and different universe. I mean, there will be some demons, but no zombies, no vampires, no ghosts... well okay, maybe also a couple ghosts. I really like ghosts.

Not as much as I love pirates tho.



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About the phoenix

Published on by Charlie Boatner.

These scans are from The Book of Beasts: Being a Translation from a Latin Bestiary of the Twelfth Century; translated by T.H. White. This book has been on a shelf in any home I've been in for most of the my life. The translator, T.H. White wrote The Once and Future King which inspired both the musical Camelot and Disney's animated Sword in the Stone.

A "Bestiary" was a medieval encyclopedia of creatures. Because of the time and beliefs of the authors, most bestiaries incorporated Christian moral lessons. Some books within Harry Potter's world, like The Monster Book of Monsters, could also be called bestiaries.

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Books of beasts are dear to me, especially now that I'm writing a comic strip of Beasts. I've quoted some paragraphs from the entry about the phoenix, which may tell you some secrets about the Snoof's friend and client, Claremont (who first appears here).

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A good, low price, reprint of The Book of Beasts can be bought from the good folks at Dover Books.



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From the mailbag: No pants day!

Published on by Charlie Boatner.

Gerard from Massachusetts asks:

 Curious; When the Snoof is at home, he has some clothing on, but at work he's "naked". Mermsy wears an outfit for work. So, the question is whether the Snoof somehow has no shame at work, but in the comfort of home prefers cool attire? Do I read into this too much?

 What a fun question!

 I draw the Snoof in the tradition of anthropomorphic cartoon animals. 

 Real animals cannot be naked, of course.  For one thing, they’re covered in fur or scales, etc., so clothes are unnecessary for warmth or protection.  When a monkey or dog is forced into clothes, it looks ridiculous.

 The other thing is that animals don’t feel that sort of shame.  But people do, so what about people-like animals…?

 Clothes in cartoons often become symbols.  A sailor suit suggests an affinity to water, a sombrero signals nationality, and a bow on the head indicates gender.  A tie means professionalism, which is why the Snoof’s boss gives him one to wear when visiting clients.

 (Sometimes the design is just utilitarian.  Cost-conscious Hanna-Barbera gave Yogi Bear a tie and collar because that allowed the artists to animate his head separate from his body.)

If it looks silly, all the better.  I take my cues from Walt Kelly.  Pogo wore a shirt and no pants, but when he took off the shirt to go swimming he was somehow embarrassed.  He also wore a nightshirt to bed. 

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This may have been more information than you wanted, Gerard.  A sketch is on its way as a thank-you!

 All copyrights and trademarks of the shameless character images on this page belong to their respective owners.

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James Tucker interview on Batman: Brave & Bold

Published on by Charlie Boatner.

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James Tucker is a producer, an animator, and an artist.  He is known for his work on Batman Beyond, Animaniacs, Justice League, and Scooby-Doo!  He became supervising producer of DC Animation when Bruce Timm stepped down. 

I interviewed Tucker to celebrate the TV and comics debut of Batman: The Brave and the Bold.

CB: How did you learn to draw?

 JT: I started drawing at an early age. The first thing I drew was Batman! I used to watch the old TV show and cartoon and it ignited my imagination. I willed myself to learn how to draw because I could not get enough of Batman, and had to create my own images of him and his villains. From there I kept drawing because it really allowed me to visualize the stories that ran through my head. I took art classes in school, and checked out art books from the library and copied the images in order to grow as an artist.

 CB: What was the first art you did for pay?

 JT: I believe when I was a junior in high school, I painted a mural for a church. I got all of 47 dollars for it! I felt like a professional artist then!

 CB: What steered you toward cartoons?

 JT: The Batman cartoons I saw as a kid primarily.  I loved animation from the first cartoon I ever saw, but the Batman cartoons from the 60s and 70s combined what would be my love of animation and comic books.

 CB: What shows have you worked on?

 JT: I've worked on Tiny Toons, Tazmania, and Animaniacs; also Superman, New Batman Adventures, Batman Beyond, Static Shock, Justice League, Justice League Unlimited, and Legion of Superheroes. Being the huge DC fan that I am, it's been great to work on these shows.

 CB: What are some of the jobs you’ve done in animation?

 JT: My very first job was as an animation assistant on Tazmania, which meant I cleaned up the rough drawings of the primary animator and then provided the in-betweens from the key poses. I had had very little prior experience at animation and actually didn't understand the process well until I got the job.

 I read about this little studio in Homewood, Illinois that was doing episodes of Tazmania. So I called them up and got an interview to show my portfolio. Mind you, I didn't have a portfolio at the time. So that night I drew my portfolio from scratch pretty much. It was good enough for them to take a chance on me. For all aspiring animation artists, this is not the way to get a job. I just was very lucky and made the most of the opportunity. I then worked my way up to animator and learned all the ins and outs of animation along the way.

 CB: You’re the producer on the new Batman show.  What does a producer do?

 JT: Different producers do different things depending on the show, so there is no one description that fits everyone who has the title of producer. On Batman: The Brave and the Bold, I'm involved with every aspect of the show.  I design most of the primary characters; I have final approval on scripts, voices, storyboards, and backgrounds. Basically I have to sign off on every facet of the show from start to finish.

 It's a lot of work but I have the help of some of the best talents in the business and a very efficient support staff here at Warner Bros. Animation is a team effort and even though I'm the Producer and set the tone of the series, it takes a small army of people to make my vision get to the small screen.

 CB: Is working in animation anything like you imagined?

 JT: Well it is and it isn't. When I dreamed of working on a Batman cartoon or on the comic book, I didn't know what it entailed. I just knew I wanted to do it. So I guess I was open to learning everything there was about comics and animation to achieve that goal. Working on Batman has been everything I imagined and more. For me, doing this show is a natural fit. It's the Batman that first got me into comics and animation.

 CB: Tell us about Batman: The Brave and the Bold.

JT: The Brave and the Bold is an animated show based on the original The Brave and the Bold comics from the 60's and 70's. The tone is a bit lighter than previous Batman shows, but still maintains the action and adventure that the character has been known for since his creation. It's a fun, exciting show for all ages.

CB: What takes Batman out of Gotham?

JT: Just like the old comics, we just start our story with Batman in the middle of some adventure and let the audience figure out he got there. I very much wanted this show to be in the DC Universe I knew as a kid.  In that universe, all the heroes knew each other and even had parties together. So it wasn't a big deal if Batman happened to be working a case in Star City and ran into Green Arrow, or Coast City and had an adventure with Green Lantern. The idea of this show is that these heroes are friends and acquaintances with each other and that crime fighting is a job they all share.

CB: How did you choose the voice actor for Batman?

JT: I wanted someone who could be a tough, no-nonsense hero and still have some warmth to his voice and show us the lighter, more likeable side of Batman.

CB: Who are some of the other heroes in the show?

JT: I'll rattle off a few at random: Blue Beetle, Booster Gold, Wildcat, Black Canary, The Huntress, The Flash, Red Tornado, Jonah Hex, Kamandi, Omac, Green Arrow, Green Lantern, Plastic Man, Deadman, Aquaman, Black Lightning, Katana, Metamorpho....

CB: How about the villains?

JT: Dr. Polaris, Sportsmaster, The Cavalier, Zebra-man, Polka Dot Man, The Top, The Scarecrow, Solomon Grundy, Catman, Kanjar Ro, Clock King, Gentleman Ghost, Gorilla Grodd, Despero, Sinestro, Crazy Quilt, Punch and Jewelee, Black Manta, Ocean Master, Felix Faust, and the list goes on and on.

CB: How does Robin feel about being left out of the excitement?

JT: Who says he's not going to appear? But when he does appear, the fans won't be disappointed.

CB: I haven’t seen Aquaman with a beard for a long time.

JT: Every king should have a beard!

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James Tucker’s latest projects are Justice League Dark: Apokolips War and DC Super Hero Girls.



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Jay Stephens interview on The Secret Saturdays

Published on by Charlie Boatner.

Jay Stephens is a Canadian cartoonist, best known as the creator of animated series like Tutenstein and The Secret Saturdays.  He has also created many comics projects, including The Land of Nod and Jetcat Clubhouse.  When I interviewed him The Secret Saturdays had just launched on TV.

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CB:  How did you learn to draw?

 JS:  I think I was born weird or something. I've always been doodling and sketching and making up my own little worlds and characters. I think my parents were a little freaked out.

 CB:  What was the first art you did for pay?

 JS:  In grade school, kids would give me a quarter to draw pretty girls or Batman or something. I guess you could say I went “Pro” pretty young! My first official “comic book paycheck” was for a short story in a small comic book anthology ‘way back in 1990.

 CB: What is your job in animation?

 JS:  My titles are “Creator,” “Executive Producer,” and “Art Director,” which means that on The Secret Saturdays show, I'm involved in just about every aspect of production; from scripts to voice casting and recording, to character design and color layout, music and sound effects, promo art, storyboards, marketing, and more. I could really use a nap.

 CB:  Is making cartoons anything like you imagined?

 JS:  No way! It's a lot harder... and it takes about a million years to get a show done. But it's been really fun. We were lucky to pull together a really great group of talented people on this production.

 CB: Tell me about Secret Saturdays.  Will it be shown on Saturdays?

 JS:  That's a secret. “Saturday” is actually the last name of the family of cryptozoologists that star in the series. Doc Saturday is the science-geek dad with big muscles, Drew Saturday is the impulsive, legend-expert mom, and Zak Saturday is their adventurous son. Oh, and they've adopted some “cryptids,” too...mysterious creatures that remain unproven by the zoological establishment.

 CB:  How did the Saturdays get into the secret-hunting business?

 JS:  Doc approaches legendary creatures like the Yeti, Loch Ness Monster, or chupacabras from a purely scientific background, while Drew is more schooled in the mythological and mystical aspects.

 CB:  What is Zack like?

 JS:  He's what a typical 11-year-old-kid would be like, if a “normal day” meant running for your life from a Mongolian Death Worm in the Gobi Desert or searching the bottom of Lake Champlain for its legendary serpent. For the Saturdays, every day is like an adventure weekend!

 CB:  Why do some of the cryptids need protecting?

 JS:  Many of the world's most mysterious beasts are in danger from humankind's encroachment. But even worse, an insane weirdo called V.V. Argost is on a quest for a legendary cryptid called Kur that is said to grant unlimited power. He doesn't know which cryptid is the right beast, and so the Saturdays must race around the globe in an attempt to stay one step ahead of Argost and protect this ultimate secret from falling into the wrong hands.

 CB: How do your research your legends?

 JS: I have dozens and dozens of books on cryptozoology, folklore, and legends from all ages and from all over the world. The internet is also great for keeping current on the latest weird sightings. New cryptids are reported every month!

 CB: What sort of monsters do you like?

 JS: I never met a monster I didn't like.

 CB: Why are you writing and drawing comics about the SECRET SATURDAYS too?

 JS: Clearly I have a problem! In all honesty, though, I love these guys, and want to continue telling their stories. It's a great opportunity to flesh out the background of the series, and offer some prequel tales.

 CB: Do you have a family?

 JS: Yup. And we travel as much as possible, too. Haven't found any monsters yet, but our Bengal cat, Tiki, is kind of wild.

 CB: How do your kids affect your cartoons?

 JS: My two kids are very quick to tell me if something sucks. There's nothing more satisfying then seeing them react with excitement to a Work Print (rough cut of animation), knowing that we're really onto something that kids their age will dig.

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Sanford Greene interview on Legion of Super-Heroes

Published on by Charlie Boatner.

Sanford Greene says a trip to K-mart with his mom changed his life. He was looking for a toy when he noticed a spinner rack full of comics. “And that’s when the heavens parted.”

 When I caught up with him he was drawing Legion of Super-Heroes in the 31st Century (long title) for DC Comics.

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CB: Where did you grow up?  Where do you live now?

 SG: In a small town that shall remain nameless! I am currently in Columbia, South Carolina.

 CB: How did you learn to draw?

 SG: It's a gift that was developed over time. I went to a liberal arts college here in SC and was trained by a professional children’s book illustrator.

 CB: Did you start out by publishing your own work?

 SG: Kinda. I had a friend who had an interest in publishing. So we got our nickels and dimes together to put out a low budget comic. It was pretty cool!

 CB: How did you first sell your art?

 SG: I sold my first pic at a comic convention. I had no idea what I was doing. I think I sold an original for like $20 or something sad like that!!

 CB: You’ve done art for video games?  What’s that like?

 SG: Yes I have. Sonic the Hedgehog for SEGA and Killer 7 from CAPCOM. Working on those was really cool.

 CB: Is doing comics professionally anything like you imagined?

 SG: Yes actually. I knew it would be very hard work and I knew it would take several years before I saw the fruits of my labor. But anything worth achieving means you must work hard for it... ya know!!!

 CB: Have you met any of the kids who see your art?

 SG: Tons of them all the time. Especially when I go to the comic conventions!

 CB: Why do you think the Legion of Super-Heroes has so many loyal fans?

 SG: It's like the title says; it's a whole Legion of Super-heroes!! How cool is that?...

 CB: Who is your favorite character in the Legion?

 SG: If I had my pick I would say...Ultra Boy. But he's not on the team in this book just yet. But stay tuned!

 CB: If you were a Legionnaire, who would you be?

 SG: Hmmmm... That's a tough one. I would say MULTIPLE BOY. That way I can turn into a bunch of me and get a lot more done!!!

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In 2020, he and writers Chuck Brown and David Walker received an Eisner Award for their series Bitter Root, about monster-hunting during the Harlem Renaissance.  Ryan Coogler, director of the first Black Panther movie, will adapt it for film.



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J. Torres interview

Published on by Charlie Boatner.

J. Torres may be best known for writing the fan-favorite Teen Titans Go comic book for DC Comics.  When I interviewed him, he was just starting work on another comic, based on the animated version of the Legion of Super-Heroes.

(Comics cover by Todd Nauck)

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JDC: What does the “J” stand for?

 JT: I used to tell people it stood for Joker, but then Batman got mad at me. He said it wasn't funny. So, now I tell people it stands for Justice!

  JDC: What sort of stories did you write before you worked for DC Comics?

 JT: I did a comic about a girl adventurer, another one about a boy and his giant robot, another one about a high school for kids with super powers -- a lot of fun stuff like that!

  JDC: How did you get your first project published?

 JT: My friend Tim Levins and I created a kind of homemade comic which we photocopied and sold to people and also sent to editors and publishers. One publisher liked our work enough to print it up as a real comic and that's how we got our start! Tim went on to draw BATMAN ADVENTURES and later I ended up writing TEEN TITANS GO!

 JDC: Have you met any of the kids who read your comics?

 JT: I've met quite a few at store signings, comic conventions, and even at school and library visits that I do from time to time. The best part is when some of them dress up like Robin or Starfire or another of the Titans! I also love it when they tell me knock-knock jokes or give pictures they've drawn...

 JDC: You live in Canada.  How do you work with editors who have offices so far away?

 JT: We do everything by e-mail and telephone! Isn't this an exciting time to be alive? But I can't wait until the day I can upload my stories directly from my brain and onto the Internet the way I imagine Brainiac 5 can. In the meantime, maybe I can learn to telepathically send my stories to people with my mind, Saturn Girl style.

 JDC: How do you picture the 31st century?

 JT: Flying cars! Teleporters! Time travel! But the coolest thing to do on a Friday night is still to pop some popcorn and watch a scary movie with your best buddies.

 JDC: Will you be introducing any Legionnaires or villains who haven’t been seen on the show first?

 JT: Oooh... I don't want to give too much away...but...let's just say that one villain we have lined up will probably be more familiar to fans of the Justice League. Also, watch up for an unexpected guest star in the same issue, someone also kinda/sorta related to the League...

 JDC: Why do you think the Legion of Super-Heroes has so many loyal fans?

 JT: I think it's because the Legionnaires are relatable. Although they have super powers and live in the future, they're still human like us. They argue, they fall in love, they make fun of each other, they cooperate, they make mistakes, etc. Plus, they're just so cool with their costumes and flight rings and clubhouse.

 JDC: Who is your favorite character in the Legion?

 JT: That's a tough question to answer... so many to choose from... I've always liked Saturn Girl and Lightning Lad... but Brainy is another favorite... then there's Bouncing Boy but I think that's because people tell me I look like him... I can't pick just one!

 JDC: Why is Brainiac 5 named after Superman’s enemy Brainiac?

 JT: There is an interesting connection between them! Please keep reading to find out more!

 JDC: The Legionnaires are teaching Clark things they learned about him from his future.  Does that hurt your head?

 JT: Only when I think about it.

 JDC: Who would win in a fight, Timber Wolf or Beast Boy?

 JT: It depends what they're fighting for. If a tofu dog is at stake, Beast Boy, hands down.

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J. also wrote the Eisner-nominated Alison Dare and Lola: A Ghost Story which received the 2020 Aesop Accolade Award.  His web site is https://www.jtorrescomics.com

(“Lola” cover by Elbert Or)



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Man of Action interview on Ben 10

Published on by Charlie Boatner.

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Man of Action Entertainment is a writer collective and creative studio, best known for its animated action shows.  Its first TV work was the megahit Ben 10.  Related comics stories appeared in DC Comics’ Cartoon Network Action Pack, with a writer’s credit reading “Man of Action,” so that’s who I was assigned to interview.

CB: Why do they call you “Man of Action?”

 MOA: Because we are always at the center of adventure! Adventures in storytelling that is! And nothing says "action" like writing all day!

 CB: What is your job on the Ben 10 cartoon?

 MOA: MAN OF ACTION made it all up. We have the best job in the world! We get to come up with cool characters and worlds for them to live in. Then other people have to do all the really hard work of actually putting the TV show together! MAN OF ACTION does write some of the scripts for the cartoons, though, and that's hard work too!

 CB: For sure!  What isn’t your job on the Ben 10 cartoon?

 MOA: Drawing! It takes a huge amount of drawings to get a cartoon to move. And it takes tons of great artists to do all those drawings.

 CB: Did you start making comic books or cartoons first?  How did you start out?

 MOA: All the men in MAN OF ACTION started out as comic book guys. We were lucky enough to make our dreams realities, and now we not only do comics, but TV, film, music, video games and theater too!  We're all used to seeing our characters in the panels of a comic book. It's totally different to see those drawings in motion. That is the coolest!

 CB: Will you write any of the Ben 10 stories in Cartoon Network Action Pack?

 MOA: MAN OF ACTION is writing the first four Ben 10 stories for Action Pack! We'll run Ben, Gwen, and Max from the Mexican border to the snowy slopes!

 CB: How did you come up with the ten aliens?

 MOA: The aliens are all representative of the powers most every kid wishes he or she could have, even if only for a little while -- to get small; to be really strong, to fly -- who wouldn't want to be able to pass through a wall now and then like a ghost or have a couple of extra hands to keep hold of everything?!

 CB: Will Gwen ever get powers?

 MOA: Gwen turned into the coolest heroine ever -- LUCKY GIRL -- with the help of an enchanted stone taken from the clutches of the evil HEX in an episode from Season One. And Lucky Girl makes her triumphant return in another episode in Season Two!

 CB: Is Grandpa Max based on anyone you know?

 MOA: There is no way Grandpa Max could be based on anyone we or anyone else knows because Grandpa Max is waaaaaay more than anyone realizes right now. He's a man with an incredible past (that's been hinted at in the cartoons) and as time goes by, we'll find out what that past is and what it has to do with "plumbers."

 CB: In the new cartoons, like Ben 10 and Juniper Lee, grandparents give help and advice.  Why grandparents?

 MOA: Parents know best, and it's true that kids should listen to them, but it's a lot easier to hear stuff from people who are a little more removed from your daily life. A word from a friend, a cousin (like Gwen), or a grandparent is more likely to make it through Ben's sometimes pig-headed head!

 CB: Who would win in a fight -- Ben 10 or Beast Boy?

 MOA: Beast Boy can turn into any animal under the sun, but come on! Ben can be any one of ten super-powered aliens! I'd go with Ben 10 all the way! Of course, they'd never actually fight. They'd go get a pizza, then play pranks on the Titans together for the rest of the day!

 CB:  Point taken!  Thanks, Man of Action!  (Or is it Men of Action?  I’m so confused!)

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Ben 10 is still going strong.  The latest version had a three-day premiere event in April, 2021 on Cartoon Network.  Ben 10 plus Generator Rex equals BenGen10!



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Judd Winick interview on Juniper Lee

Published on by Charlie Boatner.

Publicity card

Publicity card

The Life and Times of Juniper Lee ran for three seasons on Cartoon Network and will begin reruns on Boomerang in Fall, 2021.  I interviewed its creator, Judd Winick, for the comic book Cartoon Network Action Pack, published by DC Comics.

 CB: What is your job on the Juniper Lee cartoon?

 JW: I'm the Creator and Executive Producer. I do a bit of everything. I write the shows, with others, I design the characters, with others, direct the dialogue recordings, etc.  A hundred-some people work on the show, and their job is to turn all the nutty ideas I come up with into a show. And I sit next to them while they do it.

 CB: You create both cartoons and comics.  How did you start out?

 JW: I did comic strips for newspapers before anything else.

 CB: Is doing cartoons anything like you imagined?

 JW: No. This is the first time in my life that I've ever work in anything resembling an office setting, and with groups of people. Before this, it was always me at my drawing table and my computer. This is a lot more fun.

 CB: Do you know any of the kids who watch your cartoons?

 JW: I meet them all the time, and it's the best part of the doing the show. They seem to love the stuff I love ("Ray Ray rocks!" " Monroe is the best!") but they surprise me sometimes. Like they all wanted to know how Ray Ray could see monsters when no one else could. We did an episode about that, and explained it.

 CB: Will you write any of the Juniper Lee stories in Cartoon Network Action Pack?

 JW: At the moment, I will be writing ALL of them.

 CB: Where does the name “Juniper Lee” come from?

 JW: My wife and I came up with Juniper Lee, the character and the name. We wanted something pretty, and unique. Juniper fit.

 CB: What are her powers?

 JW: June's REALLY strong, and is also an amazing acrobat. She can leap from roof top to roof top, and toss a half ton monster. She kicks butt.

 CB: Is the idea of a “Te Xuan Ze” an old myth or did you make it up? 

 JW: “Te Xuan Ze,” is a very American way of saying the Chinese expression, "TUR-SCWHA-ZEH," with translates into "Chosen one." And we made it up. The idea that magic can only be seen by a chosen few is an old idea. Many stories and myths are built around the idea that a hidden world exists along our own, and only certain people with special abilities or willingness can see them.

 CB: Is there a Te Xuan Ze in any other country or is June the Protector for the whole world?

 JW: Juniper is the protector of the world. MOST of the world of magic exists in and around Orchid Bay. It's like a portal to other realms of magic.

 CB: Do you know any dogs like Monroe?

 JW: My sister-in-law got a pug many years ago and I fell in love with him. After that, I always thought we'd make a character who's a pug. But do I know any pugs who are Scottish, angry, and can talk? No.

 CB: In the new cartoons like Juniper Lee and Ben 10, grandparents give the help and advice.  Are grandparents special?

 JW: Grandparents are the voices of the past and a living extension of who we are and where we came from. For Juniper, the best she can ever be is to turn out exactly like her grandmother.

 CB: Is this the first American cartoon with a Chinese American hero?

 JW: I have no idea. Juniper is based on my wife, Pam, who is Chinese American. She has often spoken about how, when she was growing up, there were no roles models, or even characters on TV and in movies who were Asian. We wanted to do one.

 CB: What sort of reaction are you getting?

 JW: Amazing. People really seem to love it. Which is good, since we have many, many more stories to tell.

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Judd Winick has written comics for DC Comics, including Batman and Green Arrow.  His autobiographical graphic novel, Pedro and Me: Friendship, Loss, and What I Learned, earned many awards, including GLAAD Media Award and the 2001 Robert F. Sibert Informational Book Honor Award (should I mention that Mr. Sibert was my uncle?).  His current work is a series about a mysterious boy named Hilo which he describes as "part E.T., part Doctor Who, part Peanuts and Calvin and Hobbes.”  His web site is http://www.JWspillowfort.com



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Secrets behind the Comics

Published on by Charlie Boatner.

I wasn’t happy with one of my recent drawings of the Snoof’s boss, so I got out a regular sheet of paper and drew him a few times more.  Thanks to the magic of Photoshop, I just replaced the bad drawing with the good.

For an added bonus, please notice the partially-inked unicorn.

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P.S. I have started an Instagram account https://www.instagram.com/mcboatner/ for assorted drawings, photos, past strips, and dazzling miscellanea.  I’ll post there more than to this Blog tab.  But please continue to come to this site (BureauofBeasties.com) on the 1st and 15th of every month for the continuing adventures of Mermsy and the Snoof!



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