Paul Pope draws cats with girls well enough to make you wish he’d draw a short comic using that dynamic. Here’s to hoping for a cat in Battling Boy.
Colors by Lovern Kindzierski
There was a cat in Battling Boy. I think that this is the most important wishful thinking I’ve posted about Paul Pope. To the future of cats and girls drawn hanging out by Paul Pope!
Line art for my story about the Apollo 12 mission for Dark Horse Presents. This strip is appearing in Best American Comics 2013. This was the single-most historically documented and period accurate strip I’ve ever done. The only thing to compare it to was the Spock story I did for JJ Abrams/Wired, which required me to watch all of the TOS episodes and all of the films with Nemoy, plus learn how to draw all of the different Enterprise ships.
"There was something I got from [Alex] Toth that I thought was very useful. He didn’t use photo-reference. What he would do, if he had to draw John Wayne or a specific car, he would study it, put the book down, and then go and do it on his own. And I tried my own way to use that Toth-ian approach, but in terms of tone. So I would spend some time looking at Moebius. There’s a shot in Battling Boy with a giant city. I knew I had to quickly and elegantly show the scale of the city and I knew it had to look kind of Mediterranean, old and ossified. And so I was looking at a lot of Moebius, specifically Inside Moebius, his later stuff, and then put it down and created something out of my brain. Moebius uses a lot of these Leone-esque horizon line shots where you’re seeing something over the shoulder, from ground level. That kind of telegraphs “epic,” widescreen stuff. That was what I was going for. So I’d look at Moebius, put it down and then think about it and make my own thing.”
- Paul Pope on Battling Boy in The Comics Journal
Giant THB Parade is another awesome, oversized Paul Pope collection that features the first printing of Escapo and a Jay Stephens.
"Maybe on that highway stretch last summer the only significant inspiration I had was to change the format of comics, to change the way people look at comics, perceive them and approach them, and even that wasn’t something I came up with on my own, alone and without contemporaries. I wasn’t worried about "losing the South" if I quit making comics in their usual 7x10 pamphlet format, but I was curious why so many people don’t read comics, people who enjoy all other sorts of art and entertainment. Maybe comics aren’t sexy enough. Maybe they lack swagger. Maybe they are too safe. Maybe they are invisible. The oversized format is a vehicle, like choosing to paint with a specific color palette. The Giant THB I saw in my vision was sexy, so it had to be big, huge even, because it somehow makes sense that sexy comics would be large, larger than normal comics and thus larger than life."—Paul Pope
Strange Paul Pope Ephemera Just Found in a Box: While hanging with Paul in his studio before Batman Year 100 was released, he gave me this photocopied sheet of concept art for some of future Batman’s gadgets, accessories and psychological warfare fang dentures.
World Comics is Good Comics.