Gisèle Lagacé interview

Yes, I do read everyone’s comments, and I do try to interview requested artists. I’m very pleased to have Gisele Lagace here today. Gisele –

BC: Who are you?
GL: I’m a cartoonist from New Brunswick, Canada. I’m known mostly for my work in webcomics, which started in 2000 with Cool Cat Studio. Since then, I’ve also dabbled in print comics and have worked on a few projects outside my own (Archie, Betty Boop, Jem.) Before that, I was a graphic designer for a good decade, and before THAT, I was a musician in an all-girl band from Quebec called Barbarella. A more detailed about me can be found at my website in the about section.

BC: Do you consider yourself a cartoonist, an illustrator, an artist, or something else?
GL: I generally consider myself a cartoonist. I usually write or co-write my work but I’ve collaborated with writers in the past where my main duty was on the art side.

BC: How did you get your start as a cartoonist?
GL: Online, I got my start with Cool Cat Studio which I created, and wrote and drew until T Campbell joined me on the writing side. This partnership led to more projects. In print, I got my start at Archie Comics. My first big break with them is drawing the full issue of Archie #635 (Occupy Riverdale.)

BC: How long have you been at this, and what do you think your biggest breaks were?
GL: Cool Cat Studio, my first project, was a pretty big break online. It had a pretty good following. My biggest break online, though, is by far Menage a 3. In print, I’d say getting to draw the Archie Meets Ramones one shot last year.

BC: What was it like working on the Ramones one-shot? Did you need to do any research on the band, or get permissions to use their likenesses?
GL: It was fun working on that. I did a fair amount of research. I wanted to make sure I was as accurate as possible. The Ramones estate was also involved, so yeah, we had permission to use their likenesses. Actually, the closer the better. 🙂

BC: What led up to your starting Cool Cat Studio, and then Sticky Dilly Buns, and along with the Archie Comics work do you have any other pokers in the fire right now?
GL: I just wanted to draw comics, and when I saw other cartoonists bringing their work online, I just did the same. I really enjoyed the immediate feedback. As for Archie comics, I always enjoyed Archie comics growing up, so when I was asked to draw some Archie stories, I jumped at the chance. Other than continuing my online work, I’m finishing up an arc of Jem & the Holograms right now for IDW.

BC: Why adult comics? Or, comics with a heavy R-rated slant? Do you feel any kind of disconnect switching between Menage a 3 and Archie? Is there much of a desire to sneak in a Menage style panel in something like Jem and the Holograms?
GL: I never really said to myself “I’m gonna do adult comics.” I wanted to do first and foremost a funny situational comic. I loved Three’s Company growing up, and one day I said to myself “I want to do a fun comic that’s sort of like that.” The name came to me instantly, and within a day, the cast was nailed down. The comic ended up being more risque than Three’s Company but that might just be ’cause we’re French Canadian. I compare it to if HBO had done Three’s Company. Although, I think HBO would show more sex than we do!

GL: In regards to Archie, old Archie comics from the ’50s and ’60s were quite risque. One could say that back then, they were more written for adults than one would think. In the end, for me, it’s all about comedy, whether sex is involved or not.

(from Menage a 3)

BC: Which of your works are you most happy with, or proud of?
GL: Well, I like all of it. However, I do see things I’d do differently now in almost everything I’ve done but I think that’s pretty normal. I guess I’m proud of Menage a 3’s longevity. I don’t think anyone thought it would last this long. In print, Archie Meets Ramones is a highlight but so is Betty Boop and Jem & The Holograms. All 3 projects revolved around music, but all 3 were quite different from one another on the art side. A nice challenge for me.

BC: How would you label Menage a 3? Erotica? Underground? something else? You’ve already mentioned it’s NSFW.
GL: I call it an HBO-style RomCom.

BC: Do you have any paper or e-book collections on the market yet?
GL: All of my personal work can be bought in print or as e-books. Best way to get it is to visit the PixieTrixComix store and it can all be found there. The store link can also be found at the website and all other Pixie Trix Comix properties.

BC: How do you approach that blank sheet when you decide to start your next strip or panel?
GL: On the writing side, I simply write in a Word doc. Not sure where the ideas come from but they do. Collaborating also helps when ideas don’t easily come. On the drawing side, I just try to imagine the acting and the space the characters are in.

BC: Have you found any influences from your print work rubbing off on your online strips? Or, vice versa? Or, influences from your time in Barbarella?
GL: Well, I think one can see the art shift a bit in my online work when I’m working on something for another publisher. For instance, my Dan DeCarlo influences may show up more in my online work if I’m currently drawing an Archie comic, or things may look a bit more realistic if I’m working on something like Jem at the same time. It’s hard to shift gears sometimes. I do the best I can.

BC:If your strip had a soundtrack, what would it be?
GL: I guess it would depend on the property. However, Cheap Trick is a band that shows various emotions in their songs, so I think they might be a good fit.

BC: Who are your favorite artists/writers? Have you met any of them? Got any dirt on them?
GL: Big fan of Dan DeCarlo, Rumiko Takahashi, Uderzo and Jim Davis. Can’t say that I’ve met them, so I don’t have any dirt on them lol.

BC: Do you follow any other comic strips right now?
GL: Not really. Generally too busy to keep up with most ongoing series. At the very moment, I’m actually reading the 2012-2014 Harbinger run from Valiant.

BC: What do you look for when you read someone else’s strips?
GL: First and foremost, the art has to please my eye. Once that’s out of the way, I’ll look for stories that have a nice balance of suspense, action, and comedy.

BC: What do you think makes for a good comic?
GL: Just good storytelling and art that matches what you’re trying to do. If you’re doing a comedy, make sure it’s funny but also that the art sells the comedy.

BC: Do you use Patreon or Kickstarter? How do you think they are changing the face of webcartooning? Do you want to plug your site?
GL: I’ve only used Kickstarter. Actually planning to do a 3rd one this Spring. And yes, you can visit to know more about me, and to see my online work. Right now, Menage a 3 is the only project I’m currently updating. I plan on returning to Sticky Dilly Buns soon. However, Pixie Trix Comix has other properties that update which I’m not that involved with.

(from Sticky Dilly Buns (server down.))

BC: Do you have any projects coming up? Appearances scheduled for conventions?
GL: My first issue (#24) of my run on Jem & the Holograms hits stores March 29th. The Betty Boop mini I drew with writing by Roger Langridge will be collected and released as a trade this May. I plan on doing a few conventions this year. My first being C2E2 in April.

(All artwork here has been reproduced with the permission of the artist. Copyright Gisele Lagace (c) 2017.)
(This interview is the copyright (c) of Curtis H. Hoffmann 2017. It may not be reproduced in whole or in part without the permission of the author.)

Jeffrey C. Wells interview

This is the second half of the Shaenon Garrity/Jeffrey Wells interview. The part that has more Jeffrey and less Shaenon. Well, actually, Shaenon doesn’t show up here at all this time. It’s just the part with Jeffrey. The interview. I mean, the interview part with Shaenon and Jeffrey but without Shaenon. Just Jeffrey. And Basket Case. Yes, Basket Case is here, too. Doing the interviewing part of the interview. That is, it’s not an interview without the interviewing part. Right? Where was I?

BC: Who are you?
JW: Hi. My name is Jeffrey Wells. I co-write Skin Horse with Shaenon Garrity. I also write prose, although it must be said, a lot of that is fanfiction.

(Skin Horse, the “Choose” chapter.)

BC: What personal details do you think are relevant to readers to know about you?
JW: I was born, raised, and have spent the better part of my life in the Midwest, specifically Wisconsin. I have no particular qualifications to work in comics other than the fact that one time I wrote a very long fanfic for Shaenon’s previous major daily webcomic, a strip called Narbonic. For some reason, Shaenon was so pleased at my very long fanfic that she invited me to collaborate on her second major daily webcomic, the ongoing Skin Horse. I am still kind of at a loss as to how that happened.

BC: Do you consider yourself a cartoonist, an illustrator, an artist, or something else?
JW: I am very definitely a writer rather than any form of visual artist. One of the ongoing jokes behind the scenes of Skin Horse is that Shaenon thinks it would be an awesome idea if I were to draw the strip for a week, apparently unaware of the riots that would ensue were I to ever attempt to do so.

(Skin Horse, the “Choose” chapter.)

BC: How did you get your start as a writer?
JW: A couple decades ago now (!) when I was in college, I was working my way through a theater minor with a focus on acting and vocal performance. Unfortunately, the university I was attending did not have very much space in the acting courses they offered, and priority was always given to the theater majors. One semester I was faced with the fact that I was not going to graduate with my minor intact if I did not take an elective course somewhere in the department, and with all acting classes full, I signed up for an elementary playwriting class, thinking that I would tolerate it as a necessary evil in the interest of graduating on time. It turned out I enjoyed the process much more than expected, and started doing hobby work on the Internet in addition to my college assignments. The rest is history, I guess?

BC: How long have you been writing, and what do you think your biggest breaks were?
JW: The incident described above occurred in 1997, and-disregarding dry spells and periods of writer’s block-I’ve been doing it fairly consistently since. My biggest break was, of course, Shaenon’s offering to collaborate on Skin Horse. It’s been an amazing nine years.

(Skin Horse, the “Choose” chapter.)

BC: Which of your works are you most happy with, or proud of?
JW: Skin Horse is pretty much it, for me! I also once wrote a serial novel about a novice superhero who daylights as a barista, and I’ll always have something of a soft spot for it despite the fact that it’s a bit more amateur a work.

BC: Where can readers get your collections?
JW: I imagine that Shaenon has answered this question to everyone’s satisfaction, but you can find collections of Skin Horse at the Couscous Collective store. If you’re curious about my prose work, you can check out my writing blog at Scrivnarium.

(Skin Horse, the “Choose” chapter.)

BC: What’s your process for working with Shaenon on Skin Horse? Do you scratch together some dialog, toss the sheet to her and then disappear for a long coffee break, or is it more interactive than that?
JW: The actual process has changed slightly over the years. At present, it goes a little something like this: one of us pitches a story idea, and we work together on a rough structure of how the story is going to unfold. Then, week by week, I provide a basic script to Shaenon. She takes it, improves the jokes, restructures some bits, and presents me with a series of revised thumbnails for my input if she feels the changes she’s made are more than just cosmetic. On my approval, Shaenon does the final art and ships the whole lot to our invaluable colorist and designer Pancha Diaz for coloring and last-minute edits.

BC: How far do you have the story planned out?
JW: The story has been basically planned out from the very beginning, which is weird because we’ve been waiting on some of these plot points to fire for almost a decade now. There’s been a lot of wiggle room on the path we take to get there, mind you, and the individual storylines are only plotted out before they begin, but to a greater or lesser extent they’ve all been in service of the long-term goal, which has not fundamentally changed.

(Skin Horse, the “Choose” chapter.)

BC: Are there any sub-plots or minor characters that you wanted to use that got cut for some reason?
JW: The one minor character who got lost to the cutting-room floor and who I’d like to see return someday was Tip’s Rumpelstiltskin-esque couturier, a rather sinister man named Mr. Tremotino. He was presented as a character who could work miracles with clothing but whose prices were steep and sometimes very strange. I enjoyed the love-hate relationship he and Tip had, but there just hasn’t been a place for him after he got cut out of the storyline in which he was originally featured.

BC: Do you and Shaenon ever argue about whether a joke is funny, or if the story is going in what seems to be the wrong direction?
JW: Shaenon and I rarely argue. I come from a theatrical background, and tend to treat Skin Horse as one big improv exercise. One of the worst things you can do in improv is say “no” to your partner; you say “yes, and…” instead. Retaining any individual joke or plot point is less important than sustaining the energy and being open to the new ideas your partner brings to the scene. This is not to say that we never go back and say, “argh, this isn’t working, can we re-do this?” to each other, it just rarely results in an actual locking of horns.

(Skin Horse, the “Choose” chapter.)

BC: How do you approach that blank sheet of white paper when you decide to start your next strip or story page?
JW: With an acute sense of low-grade panic, mitigated only by my unwavering faith that Shaenon will invariably fix whatever I screw up.

BC: If your strip had a soundtrack, what would it be/sound like?
JW: Funny you should ask that! Our strip actually has several soundtrack albums. Shaenon makes a habit of compiling a new playlist album every time a new book comes out, and I usually find that the mix is as just as eclectic as you would expect from albums based on a motley crew of semi-competent misfits. Perhaps a disproportionate amount of 1970s funk. Because 1970s funk is pretty great, that’s why.

(Skin Horse, the “Choose” chapter.)

BC: What’s the deal with Tip and weird sexual situations? Is there a contest to see who can come up with the most outrageous situation that Tip would still tolerate as a sex machine?
JW: The joke is that Shaenon comes up with intimate situations that she’d like to see Tip in, and then I try and figure out how to make them happen. I tend to write the situations where Tip can’t make it work. I’m not sure what that says about me.

BC: Do you have any favorite Skin Horse characters? Any of them that more closely reflect your own personality or tastes?
JW: It’s no secret that neurotic little Sweetheart is my favorite character, and the one that I’ve most cruelly shifted away from Shaenon’s original conception. I think Sweetheart was originally intended to be sort of a responsible mother-hen to the others, but I saw “responsibility” and wrote “persnickety” instead, and have been steadily corrupting her into my own in-universe doppelganger ever since. If you see Sweetheart obsessively struggling over something in the comic, it is probably something that I have obsessively struggled over in real life, just magnified. A little. Sometimes not much at all.

(Skin Horse, the “Choose” chapter.)

BC: Are there any backstories still waiting to be told?
JW: Yes, but to tell more would be spoiling.

BC: Have you gotten any negative reactions from readers about the storytelling, character interactions, or the stuff that Tip does? How do you react to those, if they happen?
JW: I mean, you can’t go ten years without getting *any* negative reactions. Most people are pretty approving of Tip. That said, we try to be responsive to user complaints, and if people repeatedly call a character out for behavior that does not match up with the picture we’re trying to paint, we may try and introduce a story element that shows a different side of that character in a future storyline.

(Skin Horse, the “Choose” chapter.)

BC: Who are your favorite artists/writers (any genre)? Have you met any of them? Got any dirt on them?
JW: I don’t tend to have favorite authors as I do favorite individual books. I am a huge fan of Norton Juster’s The Phantom Tollbooth, and Peter Beagle’s The Last Unicorn reliably makes me cry. I am very bad at collecting dirt, however, and am not a good source for celebrity gossip!

BC: Do you follow any other comic strips right now?
JW: I regularly read Dana Simpson’s Phoebe and Her Unicorn, because I have a thing for unicorns, and Ms. Simpson does them exceptionally well. I am fascinated by Marigold the Unicorn’s unassailable ego, partially because I wonder what it feels like to be that confident of one’s own inherent quality. Achewood and Homestuck were maddeningly brilliant, and kept me coming back despite their amazingly inconsistent update schedule. It takes a certain genius to accomplish that. With Homestuck complete and Achewood on indefinite hiatus, my webcomic feeds are a bit dry of late.

BC: What do you look for when you read someone else’s strips?
JW: Consistency is key. If I can’t get consistency, I look for people pushing the boundaries of the art form, creating humor in truly unique ways. I am a sucker for an author with a keen eye for finding organic, painfully real relationships in ridiculous contexts.

(Skin Horse, the “Choose” chapter.)

BC: What do you think makes for a good comic?
JW: Strong character voice, and an art style that complements rather than distracts from same. A little audacity. Showing up to the page.

BC: On GoComics, there’s a constant thread about how hard it is to follow the storyline. Is that intentional? Do you have any comments for people that get confused easily?
JW: Skin Horse is something of a beast. It mixes my novice webcomicker’s tendency to go overboard on plotting with Shaenon’s love of obscure detail. We don’t set out to make a strip that’s hard to follow, of course. It’s just that we see the entire months-long arc of each story as a single element in our brains, not as something that unfolds a little bit every twenty-four hours. Unfortunately, this is how everyone else sees it, and by the time some of these plot elements come to completion, many weeks have passed since they were first seeded. It may be easier to enjoy some of these storylines in the collections, where they unfold at a more compressed pace.

JW: I hope it all makes some sort of sense by the end of things.

BC: What kinds of things do you have in store for Skin Horse in the future?
JW: Things start getting kind of weird from this point on, but I can’t say more about it right now.

BC: Will we ever get to learn more about Moustachio’s background? Will he ever get cute little legs to go with the cute little arms?
JW: We sometimes keep character backgrounds in reserve; they tend to make good subjects for Kickstarter bonus material. (Moustachio’s history was fleshed out a bit in one of the bonus prose pieces for Volume 3, for instance.)

JW: Moustachio’s original legs are, as noted, the property of the British government. Even Tigerlily Jones cannot understand his legs well enough to make replacements. I keep wanting to do a leg-retrieval storyline set in the U.K., if for no other reason than to show in-canon that Nigel the ferret (seen only in bonus content) survived Unity’s scouring of the department, but it seems increasingly unlikely. (A), Moustachio has horrible little spider legs on his detachable head now, and (B), his new paramour Hitty is fully motile and he rides around on her all the time. Who needs legs if you have a girlfriend who is also a hammer tank to ride around on top of?

JW: I love being able to write sentences like that.

BC: Or, how about the power cores?
JW: The function of the man-portable fusion reactors is classified. You are not cleared to know about the function of the man-portable fusion reactors.
BC: [garbled response as Nick’s swear filter kicks in.]

(Skin Horse, the “Choose” chapter.)

BC: Will Sweetheart ever be able to go on a full-blown rampage?
JW: This has already happened in canon. She totally disrespected that wet cement down in New Orleans. What more do you want?

BC: What’s the deal with the URL text fragments (i.e. – “pull-the-intake”) and have they all been collected somewhere for people like the GoComics readers to read?
JW: Glad you asked! The ComicPress platform works best if the filename for each uploaded image is also its post date, but once it’s on the system, inquisitive users can see several strips in advance by just typing in the filename corresponding to that date. In order to prevent this, Shaenon tacks on a few hard-to-guess words at the end of the date, but they’re not random; each new day contains the next few words of a prose piece (written by Shaenon) about the early days of Project Skin Horse’s current staff. These are not officially compiled, but certain fans have taken it upon themselves to gather them up from time to time. At present, is the most complete archive that I know of, but there may be more.

BC: Do you use Patreon or Kickstarter?
JW: We use both Patreon and Kickstarter, and have had good experiences with both. Services like this allow us to continue to produce free content for anyone to see, thus avoiding the commitment barrier inherent to subscription and pay-wall models and the technical constraints of microtransaction models. If someone enjoys our free content enough, services like Patreon and Kickstarter allow them to go the extra step and obtain exclusive perks and content that casual readers will miss out on, but the core strip remains accessible to readers of all levels of commitment. We are very grateful to all our Patreon and Kickstarter supporters. It makes a world of difference to us as creators!

BC: Appearances scheduled for conventions?
JW: My convention schedule is very much in flux at the moment. We’ll continue to announce upcoming convention appearances at as we know more!

BC: Are you ever tempted to make contemporary political statements in Skin Horse? Why or why not?
JW: Skin Horse is kind of one big contemporary political statement, actually. It just goes down easier when you keep the references a little bit allegorical. I’d like to think that it doesn’t have one specific message that we’re hitting people over the head with; it’s just a metaphorical exploration on what it means to live in a post-millennial America.

(Skin Horse, the “Choose” chapter.)

BC: How would you characterize a typical Skin Horse reader?
JW: A typical Skin Horse reader is TOTALLY AWESOME. Next question.

BC: You have an open soapbox here. Anything you’d like to expound on, re: the current state of comics, web comics, convention goers, your fans? Unity’s inability to keep her hats on her head?
JW: Hats are funny. Fans are great. Friendship is magic. That is all.

(Skin Horse by Shaenon K. Garrity & Jeffrey C. Wells is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License.)
(This interview is the copyright (c) of Curtis H. Hoffmann 2017. It may not be reproduced in whole or in part without the permission of the author.)

The Conjurers Artwork

Twice a year, for the last 3 years, I have been commissioning artwork from artists that I really like. A little while ago, I asked for a piece from Brian Anderson, from his webcomic The Conjurers. I now have the art in my hands.

This piece is of Savachia, the first lead character in the graphic novel prequel. It’s for a theater poster, if Savachia were to ever perform magic on stage.

Thanks, Brian!

Shaenon Garrity interview

I discovered Shaenon Garrity’s and Jeffrey Well’s Skin Horse strip in 2013, some time after it started running on GoComics. It was right in the middle of one of the storylines, and took many revisits before the humor started to stick on me (I’m told that was humor…). Then I felt like I needed to go through the archives to try to figure out what was going on in the longer plot. That led me to reading Shaenon’s earlier strip, Narbonic. That’s a lot of reading. And now, here we are. I asked both Shaenon and Jeffrey for interviews, and they both said “yes.” One said “yes” faster that the other, but I forget which one it was. So, “knock knock. Anyone home?”

SG: Okay, here we go…

BC: Who are you?
SG: Shaenon K. Garrity, co-writer and artist of Skin Horse, among other things.

(Skin Horse. Relevant?)

BC: What personal details do you think are relevant to readers to know about you?
SG: I was born in Pittsburgh and now live in Berkeley. My day job is editing manga for Viz Media. I have a two-year old who loves pets, OK Go videos, and books about owls.

BC: In the interview with John Lustig, (Last Kiss), he mentioned doing some work for Viz, but that the two of you met for reasons outside of manga. Do you remember meeting him?
SG: Oh, sure. We run into each other at conventions pretty regularly.

BC: What’s it like working at Viz? Are there any other webcomic artists there you’d like to give a shout-out to? What is a normal day as a Viz editor like?
SG: I’m a freelancer for Viz, so I only go into the office from time to time. But yes, I must shout out to my friend Brandon Hanvey, and to Pancha Diaz, who does the coloring and book design for Skin Horse. There are many talented people there. I love Viz.

(Skin Horse. Bitey hat.)

BC: Do you consider yourself a cartoonist, an illustrator, an artist, or something else?
SG: All of the above! I also do a lot of writing, both comics-related and otherwise.

BC: How did you get your start as an all-of-the-abovist?
SG: I started drawing comics in high school and kind of never stopped.

BC: How long have you been at it, and what do you think your biggest breaks were?
SG: I’ve been making comics on a vaguely professional basis since 2000. Don’t know if I’ve ever had a big break per se, but joining the Modern Tales webcomics collective with my first strip, Narbonic, was a wonderful experience. Modern Tales isn’t around anymore, but it helped launch the careers of a lot of great comics creators, and it pushed me to take my work seriously.

BC: Can you name us a few of the artists you worked with on Modern Tales? Are there any you still keep in touch with?
SG: Oh, sure. My Modern Tales comic, Narbonic, was a solo effort, but I collaborated on comics for the Modern Tales spinoff sites. For Serializer, which was a site for alternative comics, I did a wonderful, weird comic called Trunktown with Tom Hart, one of my indie comics heroes. I’m still very proud that I got to work with him. For Graphic Smash, for action comics, I wrote a superhero college drama called Smithson, drawn first by Bob Stevenson and later by Brian Moore, with special sequences by the legendary Roger Langridge. For Girlamatic, a girl-centric comics site, I wrote a Narbonic spinoff called Li’l Mell, with a rotating roster of artists including Vera Brosgol, Bill Mudron, Neil Babra, Andre Richard, and my husband Andrew Farago.

(Li’l Mell)

SG: All these projects were fantastic to work on, but Girlamatic was an especially great experience. All the artists on the site were very friendly and mutually supportive, and a lot of amazing work came out of it. For example, Raina Telgemeier’s Smile was first serialized on Girlamatic before becoming a mega-bestselling print graphic novel.

BC: What led up to your starting Narbonic and then Skin Horse, and do you have any other pokers in the fire right now?
SG: I started Narbonic because I was graduating college and feeling bad that I couldn’t keep drawing comics for the college newspaper. Some of my geeky friends introduced me to webcomics, and I naively thought, “Hey, I can do that!” I threw together a few ideas I’d been working on, mostly revolving around my love of pulp sci-fi in general and mad scientists in particular.

(Skin Horse, cleaning up messes, one catastrophe at a time.)

SG: About a year after Narbonic ended, I had an idea for a comic about a government agency that has to clean up the messes left by people like the characters in Narbonic. I thought that the staff could be made up of the creations of mad science, and at that moment I immediately pictured all the main characters. Then I talked Jeff into writing it for me because I’m lazy.

SG: I’m writing and drawing various things at all times. I’ve been writing prose science fiction lately; I’ve published about a dozen stories. I’m also working on a book with my husband, Andrew Farago, though it’s still in the early stages.

BC: Which of your works are you most happy with, or proud of?
SG: Narbonic and Skin Horse are both pretty good. I’m never 100% satisfied with anything I do, but I like most of it.

(Sweetheart and Unity, with Tip and Nick.)

BC: Do you have any Skin Horse characters that you feel closest to? Are there any that reflect your own character in some way? Are there any backstories still waiting to be told?
SG: Nick is my favorite. I’m very possessive of Nick and Dr. Lee, and Jeff is very possessive of Sweetheart and Unity. I think those are the characters we each identify with the most. There’s a semi-secret hidden Skin Horse story that goes into the main characters’ backstories a little, if you’re curious.
BC: I’ll let the readers beg for the secret story.

(Narbonic, to the moon.)

BC: Are there any story arcs that stand out for you for Skin Horse or Narbonic, for any particular reason?
SG: Honestly, I can only bear to read the second half of Narbonic; I get embarrassed by how rough the early strips are. I like the trip to the moon and the final arcs. In Skin Horse, I like “Choose,” the Jonah Yu and Nera story based on Choose Your Own Adventure books. I enjoy doing stories about side characters. I’m liking the current story arc too.

(Narbonic Murder-y Dave.)

BC: In Narbonic, there was a lot of play on characters named Dave. Was there a particular reason for that, and were there any side-effects from it that surprised you?
SG: Dave was a character in my college comic strip, where every male character was named Dave because it was such a common name at my college. All the Daves in my nerdy social circle had nicknames to identify them, like Shiny Happy Dave and Crazy Uncle Dave. So that’s where the Dave thing came from. There’s no deeper meaning to it, but it seems to be popular with guys named Dave.

BC: How many Skin Horse wallpapers are there now, and do you have any favorites? (Wallpapers available monthly for a small donation to the tip jar.)
SG: Hold on, let me go count… okay, 53. Three favorites:
SG: November-December 2010, “I’m Science!” It’s based on the 1960s Midcentury Modern artwork on the menu of the Tahitian Terrace restaurant that used to be across from the Enchanted Tiki Room at Disneyland. That may seem kind of obscure, but it’s an awesome menu and I love tiki stuff.

SG: December 2012, “Masquerade.” Based on illustrator Kay Nielsen, one of the great classic illustrators of the early 20th century. Some of the illustrations I ripped off for this wallpaper were also ripped off for the fantasy ballroom sequence in Labyrinth, so if it looks vaguely familiar that’s probably why.

(This is one of Basket Case’s favorite wallpapers. Buy one today.)

SG: February 2016, “Secret Garden.” I did this as a stained glass window inspired by Louis Comfort Tiffany, with maybe a slight nod to the amazing Irish illustrator Harry Clarke (who’s kind of like Kay Nielsen if he did a lot of stained glass, which is obviously awesome). It was a lot of fun to figure out how to get a stained-glass look.

SG: Any time I do a wallpaper in an Art Noveau style it gets a great response. I love drawing in that style, but I try not to go to that well too often. It’s so easy to make an Art Noveau piece look good, it feels like cheating.

(Tip likes to read, too.)

BC: Where can readers get your collections?
SG: At the Couscous Collective online store!
And at the most discerning comic shops. Ask for Narbonic and Skin Horse by name!

BC: How do you approach that blank sheet of paper when you decide to start your next strip or panel?
SG: I sit for an hour and either write or don’t. Usually, before the hour is up, I think of something to write.


BC: What is the process you and Jeffrey go through in making Skin Horse? Are there times when you disagree with how a particular character is supposed to react in some situation, or about the direction the story is supposed to go? How do you resolve that? Are there any minor characters or sub-plots that you wanted to use but got dropped for some reason?
SG: Jeff does the bulk of the writing. For each story arc, we usually start by hashing out a plot together. Then Jeff writes a bunch of scripts, which I mess with and toss out and generally ruin, and some comic strips come out of it.

SG: I don’t think we’ve ever had a major disagreement, although we do run into minor differences on how we imagine different characters. There are certainly plots we haven’t gotten around to. The Jersey Devil story arc, “Can’t Catch Me,” was originally going to be a musical, “Jersey Devil: The Musical!” Jeff was very excited about the idea but ultimately couldn’t figure out how to make it work. I’m still a little disappointed about that.

BC: If your strip had a soundtrack, what would it be/sound like?
SG: I’ve been assembling Skin Horse soundtracks for each volume of the print books. They are awesome. Here they are.

Volume 2
Volume 3
Volume 4
Volume 5
Volume 6

BC: Who are your favorite artists/writers? Have you met any of them?
SG: Too many to list. I learned a lot about writing from the great children’s author Daniel Pinkwater. I was fortunate enough to meet him and his wife Jill a couple of times, and they’re amazing people. My favorite cartoonists… Lynda Barry, Alison Bechdel, and Moto Hagio are the first who spring to mind, so let’s go with them.

BC: Do you follow any other comic strips right now?
SG: Not really. Drawing comics eats up too much of my time for reading comics. I’m behind on all my monthly comic books, too.

BC: What do you look for when you read someone else’s strips?
SG: I like all comics that don’t suck. I look for a lack of sucking.

(Choose. To not be sucky.)

BC: What do you think makes for a good comic?
SG: Skill not just with writing and drawing, but with the combination of the two, which is a third discipline in itself. Strong characters. An original voice. Failing that, kitties.

BC: What’s your favorite kitties comic then?
SG: The untranslated and unjustly obscure manga Atagoul. But my two-year-old loves Chi’s Sweet Home, a very cute manga about a kitten going about her daily life.

BC: Do you see manga as having some kind of effect on your own work in some way? How would you compare the manga you edit for Viz to western comics you’ve read?
SG: Manga tends to be more visual, emotional, and cinematic. Even though I don’t draw in a particularly manga-esque art style, I do incorporate a lot of what I learn from manga into my own comics. I need to show more than I tell, and manga demonstrates how to do that.

(Skin Horse. Something the Japanese dreamed up.)

BC: Do you use Patreon or Kickstarter? Do you want to plug your site?
SG: We use both and they’re essential to our continued survival. I started using Kickstarter as a convenient way to take pre-orders for Skin Horse Volume 2, and it worked so well I’ve used it for everything I’ve published since. Our Patreon has been a lifesaver, too. Both sites are invaluable not just for webcartooning, but for self-publishing in general. They’ve certainly made it much easier and more fun to do what Jeff and I do.

Our Patreon:

BC: For the kickstarters, have you had anyone take you up on the “Tiki Party at Shaenon’s” offer? How did that turn out?
SG: Yes! Every year one or two people do. My tiki parties are excellent.

(Tiki Party in the house.)

BC: Do you have any appearances scheduled for conventions?
SG: I think the next con I’m doing is the Silicon Valley Comic Con in San Jose next month. Come say hi!

(Skin Horse by Shaenon K. Garrity & Jeffrey C. Wells is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License.)
(This interview is the copyright (c) of Curtis H. Hoffmann 2017. It may not be reproduced in whole or in part without the permission of the author.)

Jonathan and Elizabeth interview

I watch my Twitter feed very closely, and when an artist chooses to follow me, I try to find out who they are and to get a feel for their work. That’s what happened with the creators of War and Peas, a very funny, very thoughtful look at our world from various perspectives. I’d like to introduce Jonathan and Elizabeth today.

BC: Who are you?
JE: We’re Jonathan and Elizabeth, the minds behind War and Peas.

BC: What personal details do you think are relevant to readers to know about you?
JE: The most important personal detail is that we’re two different people, with two different styles. But we merged them a while back to create the War and Peas world. You can see proof that there are two of us above (and here

BC: How did the two of you first meet?
JE: At art school.

BC: Do you consider yourselves cartoonists, illustrators, artists, or somethings else?
JE: We usually refer to ourselves as comic artists.

BC: How did you get your start as that?
JE: We started this website in 2011 under the name linsedition. It started as an outlet for our silly doodles and nonsensical comics… and back then most of them were pretty bad, we’re not gonna lie. Then, after some time actual people started responding to it, telling us how funny they thought the comics were. That was really wonderful. So we started to straighten out the concept, both formally and content-wise.

BC: How long have you been at this, and what do you think your biggest breaks were?
JE: We’d say that there were three bigger breaks. The first was to make it a weekly thing and being disciplined about it (thanks to Barbara Yelin for mentoring us in that direction). The second was to limit ourselves to the four-panel format. This in addition to our artstyle make the comics more recognizable. The third was to change our name from L.I.N.S. to War and Peas. We prefer the sound of it and its meaning reflects us in a better way.

BC: What led up to your starting War and Peas, and do you have any other pokers in the fire right now?
JE: War and Peas is definitely our flagship for now but Elizabeth is also responsible for the adventures of Fungirl and is working on a book. Jonathan publishes some doodles and artworks on his Instagram having no idea where it might lead him. He’s also busy teaching comics at Saarland art school.

BC: Which of your works are you most happy with, or proud of?
JE: There are a few good ones that we’re still happy with, mostly the more saddish ones. But like with most people who make stuff, we have a kind of conflicted relationship with our work. Sometimes we’re not happy with a comic at all but we know it’s still important to finish it and get it out there. Every comic is like a little milestone we have to make before going to the next. We just hope to get better again and again.

BC: Do you have any collections on the market yet?
JE: We don’t, but we’re working on a book.

BC: How do you approach that blank sheet of paper when you decide to start your next strip?
JE: We usually start out with a situation. If we don’t have an idea already in mind, we think about our reoccurring characters and as they’re surprisingly eclectic, it’s not that hard to put them in an interesting situation. Most of our comics deal with unfulfilled desires or have some sort of sad-funny undertone. So a character might strive for something, and then an absurd plot twist might thwart those efforts. Usually that plot twist is the last and hardest part.

BC: Americans tend to prefer optimistic, or happy endings to their stories and comics, yet you have sad twist endings. How would you explain the appeal of that kind of ending to an American audience?
JE: There’s an interesting study showing that people prefer brutal movies and books in times when their country is at war or there’s lots of violence on the news. That explains the boom of horror movies during the Vietnam war. Maybe that’s also the explanation for why our biggest audience is from the States. Perhaps Americans are having a sad time at the moment and therefore prefer comics with sad punchlines.

BC: What’s the typical process for the two of you to put together a strip? That is, who handles what tasks, and how easy is it for you to work together? Are there any tasks that are easier/harder than others?
JE: We have different approaches when it comes to making a comic. Mostly it’s that one of us has an idea and we do the fine-tuning together. Sometimes we also start with a blank paper together and start a kind of ping-pong process, throwing ideas back and forth with increasing silliness. The drawing work gets cut in half and we alternate with one another from week to week. Being together on War and Peas is a challenge and an opportunity at the same time. It takes lots of communication and arguing but it works most of the time. It’s also amazing to have someone with the same sense of humour to discuss ideas with.

BC: What’s been the hardest part of producing War and Peas since you’ve started on it?
JE: Probably upholding a certain level of quality and meeting our reader’s expectations. But also managing the different channels we’re publishing on. We always have to keep an eye on messages and developments on each platform. But sometimes we’d just like to slip away and make comics all day.

BC: Do you tackle political or social issues in your strips? Which issues are you most concerned with as individuals?
JE: We had some political strips and stickers but we’re not that hipped to show our sentiment explicitly. Reading between the panels, you can surely see our world view and our opinions on social issues. We’re surely fascinated by topics such as sub- versus mainstream culture and the paradox form of isolation that comes with an increased connectivity in post-modern society. And sometimes it’s just about making a silly joke.

BC: If your strip had a soundtrack, what would it be?
JE: That’s a real good question. We both love music and listen to it frequently when working up a comic. There are several strips we could correlate with certain songs. But if we had to compose a soundtrack that fits all of them, it would probably be a rough mix of the excellent songs “I Like To Stay Home” by R. Stevie Moore, “Hey Moon!” by Molly Nilsson and the Golden Girls Theme.

BC: Who are your favorite artists/writers? Have you met any of them? Got any dirt on them?
JE: Now and then we text with Chris McCoy from Safely Endangered and Alex Norris from Webcomic Name. Alex will be visiting in summer as he’ll be the guest of the Comic Symposium in Saarbrucken. No dirt so far, but ask again when we met in person.

BC: I’m currently interviewing Alex right now. Is there anything you’d like to ask him? Or give him a shout-out?
JE: Just that we will see him. Soon.

BC: Do you follow any other comic strips right now? Why?
JE: We really enjoy the work of Kate Beaton and Nicholas Gurewitch. Obviously we love them because they’re hilarious. Kate Beaton’s storytelling is truly unique, and her facial expressions are the best! Nicholas Gurewitch has such a great sense of which style to choose to perfect each comic in it’s own way. Other than that, we follow several really great artists on our Instagram. They’re all worth checking out.

BC: What do you look for when you read someone else’s strips?
JE: We’re very story-focused when it comes to webcomics. In the end, we always believe story wins over artwork. That doesn’t mean the two can’t go hand in hand. But if the artwork becomes a means of its own, it’s too distracting and hard to really immerse yourself into the storytelling. However, we also enjoy good artwork, but more in the context of an exhibition.

BC: What do you think makes for a good comic?
JE: Another good question, and hard to answer! We think any good content is one that evokes a response. That can be a laugh, being touched, or maybe even mad (we’ve had some haters). In the end, its only credible if you believe your message as well. Just trying to provoke for provocation’s sake is an empty promise. If you can mash a meaningful message and a good punchline in a few panels we’d consider that as a good comic-strip. But if you’re able to combine that with heartwarming characters and your readers follow them and want to know what they’re going to do next… that’s art. We’re a little bit bored by all these flat characters that are considered relatable in this current comic strip trend, but we guess that’ll change soon.

BC: What strips, or topics, seem to produce the greatest reactions from your haters?
JE: We had a sticker once, head-lining “There’s a party in my burka”. It was just meant to be harmlessly silly, but some people didn’t like it. Sometimes the nerdesque community loves to critique our more geeky comics – pointing out little mistakes in the drawing or what not. All in all, you hardly get trolled when you’re writing about a ghost having an identity crisis. At least as long as it’s wearing a bed sheet as cover-up.

BC: Do you use Patreon or Kickstarter?
JE: Yes, we do have a Patreon page but we’re thinking about closing it again. We offer a loveletter service for 5$/month and it’s a lot of fun but also very time-consuming.

BC: Do you want to plug your site?
JE: Sure:, and here are some social media links:

BC: Do you have any projects coming up?
JE: Just the War and Peas book thing and fungirl of course.

BC: To Elizabeth – How would you describe Fungirl to new readers?
JE: Fungirl is a comic revolving around the eponymous heroine. A girl in today’s postmodern wasteland, Fungirl has no direction, not so many friends, and is not up to much good. Yet, Fungirl seems just fine with how things are going. Every episode revolves around some absurd and unashamed shenanigan where we can watch Fungirl bravely deal with hurdles such as unrequited love, overflowing lust, and becoming a respectable and productive member of society.

BC: Any final words you’d like to add?
JE: Thank you for interviewing us 🙂 It was a pleasure.

(All artwork here has been reproduced with the permission of the artists. Copyright War and Peas (c) 2017.)
(This interview is the copyright (c) of Curtis H. Hoffmann 2017. It may not be reproduced in whole or in part without the permission of the author.)